SMITHSONIAN INSTITUTION
390880106856C
libraries
A«T FALACr CttNTRAL. MVIIION "«VTH rinKT
OFFICIAI
ILLUSTRATIONS
OF SELECTED WORKS
IN THE VARIOUS NATIONAL SECTIONS
OF THE
DEPARTMENT OF ART
WITH COMPLETE LIST OF
AWARDS BY THE INTERNATIONAL JURY
UNIVERSAL EXPOSITION
ST. LOUIS, 1904
WITH AN INTRODUCTION BY
HALSEY C. IVES,
CHIEF OF THE DEPARTMENT
DESCRIPTIVE TEXT FOR PAINTINGS BY
CHARLES M. KURTZ, Ph.D.,
ASSISTANT CHIEF
DESCRIPTIVE TEXT FOR SCULPTURES BY
GEORGE JULIAN ZOLNAY,
superintendent of sculpture division
Copyr igh r. 1904
BY THE LOUISIANA PURCHASE EXPOSITION COMPANY
FOR THE OFFICIAL CATALOGUE COMPANY
EXECUTIVE OFFICERS
OF THE DEPARTMENT OF ART
Department ' B’’ of the Division of Exhibits,
FREDERICK J. V. SKIFF,
Director of Exhibits.
HALSEY C. IVES,
Chief.
CHARLES M. KURTZ,
Assistant Chief.
GEORGE JULIAN ZOLNAY,
Superintendent of the Division of Sculpture.
GEORGE CORLISS,
Superintendent of Exhibit Records.
FREDERIC ALLEN WHITING,
Superintendent of the Division of Applied Arts.
WILL H. LOW,
Superintendent of the Loan Division.
WILLIAM HENRY FOX
Secretary.
INTRODUCTION
BY
Halsey C. Ives
“All passes; art alone enduring stays to us;
I lie bust outlasts the throne^ the coin, Tiberius.”
A I an early day after the opening of the Exposition,
it became evident that there was a large class of
visitors made up of students, teachers and others, who
desired a more extensive and intimate knowledge of
individual works than could be gained from a cursory
view, guided by a conventional catalogue.
1 1 undreds of letters from persons especially interested
in acquiring intimate knowledge of the leading char¬
acteristics of the various schools of expression repre¬
sented have been received; indeed, for two months be¬
fore the opening of the department, every mail carried
replies to such letters, giving outlines of study, courses
of reading, and advice to intending visitors.
To meet the general demand for an illustrated hand¬
book for the exhibit, the officials of the Department of
\rt asked to be authorized to make selection of two
hundred or more representative works including paint¬
ings, sculptures, examples of applied art work, and gen¬
eral views of the interiors of galleries and courts of the
various sections -for representation and comment in
such a book. This request, after due consideration,
was granted.
In the selection of the several works of art repre¬
senting the leading characteristics of the schools of
each section, their educational value constantly has
been kept in mind.
It is to be regretted that the authorities of the
French, German and English sections should have found
it necessary to deny those responsible for the prepara-
v
•n'LHOH Coukt: ckntbai pavilion, looking north
tion oi this handbook the privilege of bringing to
students, teachers and others who may not have the
opportunity of visiting the Exposition, reproductions
of certain original works exhibited in the galleries.
However, through the kindness of individual artist ex¬
hibitors and of owners of important works in the loan
division of the United States section, we are able to
present works representing certain phases of these
three schools.
If, in the comments upon the pictures, an exclusively
favorable tone prevails, it must be remembered that
the works chosen for reproduction were among those
considered the best in the several sections. It is realized,
however, that there are many other pictures very
worthy of representation, and it is deplored that it was
not possible to include in these pages a larger number
of illustrations. In some cases permission could not
be obtained for the privilege of photographing works;
in others replies to requests were not received in time,
and in several cases it was not possible to obtain
photographs satisfactory for reproduction.
The order of arrangement of the pictures and
sculptures in the pages of this book is dominated en¬
tirely by the consideration of having the text ac¬
company as closely as possible the illustration to which
it applies. For that reason it was found best not to
attempt to arrange the illustrations by countries, schools
or subjects. An alphabetical index in the back of the
book will readily enable any one to find the work of
any particular artist and also the country to which he
belongs. The notes as to color, etc., are for the benefit
of those who may not visit the Exposition.
* * * *
One of the striking features of the organization of
the Art Department is the incorporation in it of so-
called “Industrial Art,” thus obliterating the line which
hitherto has separated the Fine Arts, so-called, from
other original expressions of art workmanship. Under
vii
icui nun corn: central rAVit-io*, looking south
the broader classification, as here interpreted, any art
work, whether on canvas, in marble, plaster, wood,
metal, glass, porcelain, textile or other material, is
recognized as equally deserving of respect, in propor¬
tion to its worthiness from the standpoints of inspira¬
tion and technique. To carry out this idea, a special
group, entitled “Applied Arts,” was added, with spa¬
cious galleries arranged for its display. Thus, for the
first time in the history of International Expositions in
this country, art craftsmen have been given full ad¬
vantage of a broad classification, which includes all
forms of artistic representation in which individual
artists, or groups of artists, working co-operatively,
have expressed their thoughts in whatever medium they
may have selected. The last ten years have seen a
great development of interest and activity in the revival
of the handicrafts; and the Exposition of 1904 is
demonstrating that the instinctive impulse for artistic
expression in the various forms of art work is a factor
likely to have an important part in our national de¬
velopment. Numerous examples of the best work of
European and Oriental craftsmen are installed in sev¬
eral sections, giving opportunities for comparative
study in this important branch of art.
The classification adopted for the Department of
Art was as follows:
CLASSIFICATION.
GROUP g —PAtXTINGS AND DRAWINGS.
( lass 27 Paintings or canvas, wood, metal, enamel, porcelain,
faience and on various preparations; by all direct methods
in oil, wax, tempera and other media; mural paintings;
fresco-painting on walls.
C lass 28—Drawings and cartoons in water color, pastel, chalk, char¬
coal, pencil and other media, on any material. Pyro-
grapbic designs. Miniatures on ivory.
GROUP 10—ENGRAVINGS AND LITHOGRAPHS.
Class 29—Etchings and engravings in one or more colors. Auto¬
lithographs with pencil, crayon or brush.
IX
RECAPITULATION OF ART EXHIBITS BY COUNTRIES AND CLASSIFICATION.
SECTION.
Group
Group
Group
Group
Group
Group
9-
10.
IX.
12 .
13.
14.
United States
Argentine
Austria..
Belgium.
Bulgaria.
Brazil.
Canada .
Ceylon.
China.
Cuba.
Denmark.
France.
Germany.
Great Britain.
I lolland.
Hungary.
Iceland.
Italy .
Japan.
Mexico.
Norway.
Peru.
Portugal.
Russia .
Sweden .
Switzerland
1,619
9 i
226
218
46
142
i'7
12
8
78
.1.17
8
23
9
661
330
SS7
242
36
318
72
18s
U2
10
6
308
124
90
28
9
• •
243
91
40
4
32
533
118
i
»3
1
2
9
14
45
Total, jo
5.4<i«
t.258
48
63
189
24
646
136
32
25
195
S3
411
60
47
^1 ;...
2
39
2.245
Total.
354
*s
SI
55
18
289
2
124
945
3.668
13
8
K
00
500
294
64
198
117
55
6
6
4
37
'4
29
50
86
25
1.530
642
1.432
486
92
I
377
264
42
29
4
76
590
165
2
10.905
GROUP ii- SCULPTURE.
Class 30 — Sculpture and bas-reliefs of figures and groups in marble,
bronze or other metal, terra cotta, plaster, wood, ivory or
other material.
C lass 31 — Models in plaster and terra cotta.
( lass 32 — Medals, engravings on gems, cameos and intaglios.
C lass 33 — Carvings in stone, wood, ivory or other materials.
GROUP 12 -ARCHITECTURE.
' lass 34 — Drawings, models and photographs of completed buildings.
I lass 35- -Designs and projects of buildings. (Designs other than
01 architecture or constructive engineering).
(lass (6 Drawings, models and photographs of artistic architectural
details.
Class 37— Mosaics, leaded and mosaic glass.
GROUP 13— LOAN COLLECTION.
Selections of especially interesting art works of various kinds
from institutions arid private collections. (Representing the various
classes detined in the Department of Art.)
GROUP 14 -ORIGINAL ORJKCTS OP ART WORKMANSHIP.
Class 38 — Art work in glass (other than that which is included in
Group 12, Class 37).
Class 39—Art work in earthenware. (Pottery or porcelain.)
Class 40 — Art work in metal (other than that included in Group it.
Class 30).
Class 41 — Art work in leather.
Class 42 Art work in wood (other than that included in Group 11,
Classes 30 and 33).
Class 43 — Art work in textiles.
Class 44 — Artistic bookbinding.
Class 45 — Art work worthy of representation which is not covered
by any of the preceding classes of this group or other
groups of the Department of Art.
Upon this broad classification, there were accepted
for exhibition in the twenty-six national sections in the
Art Palace, works as shown in the accompanying table.
The exhibits of the Department are arranged under
three heads. First, a contemporaneous division, in
which are shown works produced since the Chicago
Exposition of 1803. and in which all exhibits may he in
competition for awards (consisting of a grand prize, a
gold, a silver and a bronze medal, each award to be
xi
accompanied l)y a diploma); second, a retrospective
division, which includes works produced between 1K03,
the year of the Louisiana Purchase, and 1893; and,
third, a loan division, in the American section, devoted
to especially interesting works borrowed from institu¬
tions and private owners in the United States. Works
comprised in these various divisions have been arranged
in the galleries of the four Pavilions of the Art Palace,
as is indicated in the accompanying plan. Views of
several galleries, herewith presented, indicate the plan
of installation followed in certain instances.
# * # #
In the preliminary work of making up the various
national sections, officials and committees were urged
in the selection of works, to keep constantly in mind
that the standard of judgment should not be based upon
what they believed Americans cared for in art, but
upon that which, in the opinion of the most intelligent
people of their respective countries, was held as the
most representative art produced during the last eleven
years.
Naturally the student, in seeking to get the greatest
amount of good from a visit to such a varied collec¬
tion, will need to take up in a systematic manner the
study of the representative works here brought to¬
gether.
How should such a visitor approach a work of art?
In order to do it with understanding, the point of view
certainly should not be based upon a preconceived idea
of what the proper treatment of the subject should be.
The point of view of the German independent art
worker, the Secessionist of Munich, Carlsruhe or Berlin,
or that of a member of the Glasgow School, or again,
a French Impressionist, cannot be understood without
a knowledge of the conditions which led to forms of
technical expression so radically different, each from
the other, and all from the mannerisms of the conven¬
tionally academic.
xiii
gam nv 16: souih wall, united states section
If we are to arrive at the educational value of the
various sections, we must view the exhibits as expres¬
sions of what these several peoples are in art. The
official catalogue gives a total of nearly eleven thousand
examples of art works, representing the technical
knowledge, skill, feeling and inspiration of nearly fif¬
teen hundred professional artists. The subjects treated
are as widely different as the technical methods em¬
ployed in their expression. The energy of these hun¬
dreds of men and women who have given to us these
personal expressions—who have not only spoken to
us individually, but also have unconsciously reflected
their national atmosphere—has given the consensus of
opinion of the depth of character and feeling of all
these peoples. For this reason we have as distinct
national styles as are displayed in the works exhibited
in the Swedish, Dutch, British and Japanese sections.
Here we see as widely separated methods, and as dis¬
tinct characteristics as are displayed in the literary
productions of these countries. In these sections com¬
mercialism has little place. The same may be said of
Austria. In each of these the exhibits are largely made
up of specific works belonging to institutions and private
collections. The committees in charge apparently have
endeavored to preserve national characteristics.
Germany, France and Italy also have made repre¬
sentative collections. In the case of the German sec¬
tion. official art is very fully displayed.
In the French section the older masters of the
national school are represented in works of Carolus
Duran, Bouguereau, Robcrt-Fleury, Detaille, Henner,
I’uvis de Chavannes, Flameng, and Lhermitte. From
the coming masters there are noteworthy examples by
Simon, Cottct, Menard, I’rinet, Dauchez, Besnard and
Carriere; and among the impressionists one may note
examples of Claude Monet, Degas, Renoir, Lepine, and
others. In sculpture the French section shows strong
representative works of Rodin, Mercie, Bartholdi,
Gardet, and Saitit-Marceaux.
xv
GALLERY J.?: LOOKING WFST. UNITED STATES SECTION
The opinion is expressed by those who have familiar¬
ized themselves with the exhibits of Great Britain at
this and previous expositions, that the British display
here is superior in character to that at Chicago, and
much broader and more comprehensive than the rep¬
resentation at Paris in (900. Such men of world-wide
reputation as Millais, Leighton, La Thangue, Orchard-
son, Clausen, Burne-Jones, Alma-Tadema, Watts, Luke
Fildes, Herkomer and Macauley Stevenson, are repre¬
sented, and it would seem, indeed, that the Art Com¬
mittee has succeeded in bringing together examples
of nearly every phase of art work produced in Great
Britain. Although the collection of sculpture is con-
lined to works easily transported, a carefully selected
exhibit is shown of pieces adapted to be placed in the
galleries of the national section, — including works
by Brock, Frampton, Colton, Reynolds-Stevens, and
others equally well known. The Applied Arts Division
of the British section comprises a large and praise¬
worthy collection, and affords for the first time in this
country an opportunity to study the developments of
the last ten years in the Arts and Crafts movement
of England.
In the Holland section, contemporary Dutch art is
shown with a greater degree of completeness than at
any previous Universal Exposition since that of 1878
in Paris. The representation has been rigidly confined
to work of the last five years, although, unfortunately,
this restriction excluded the paintings of Mauve and
Bosboom. It is to be seen that in the art of Holland
the traditions of the glorious period of the seventeenth
century still prevail -the sound traditions of direct and
continuous contact with Nature. Most of the works
come directly from the studios, -only those represent¬
ing deceased workers having been borrowed from
collections. There are 170 examples of oil painting;
75 water colors; and as many etchings, engravings and
lithographs. Sculpture is represented by works such as
xvii
QAMIM -• SOUTH »*U, I'NtTKP STATES SECTION
Could be installed in the picture galleries. There is an
interesting and instructive showing of Delft and Rosen-
hurg ware, and art works in wood, silver and copper.
The standard of selection was high, and the Commis¬
sioner-General, Mr. Mesdag, reported that “the Holland
Government Committee did not admit a single work of
art that was not considered deserving of particular
attention from the amateur and the general public.”
Japan, availing herself of the broad classification,
has sent a very carefully selected and excellent collec¬
tion of Japanese art works. The old school of painting
is well represented by Hashimoto Gabo, Masao Gejo,
I mao Keinen, and other leading artists; that of sculpture
by Yamazaki Choun, Kaneda Kanejiro, and others;
ceramics in part by Miyagawa Kozan, Kato Tomoturo;
bronzes by Okazaki Sessei, Shoami Katsuyoshi and
others; important work in cloisonne by the two Nami-
kawa, Ando and other well-known art workers; textiles
by Kawashima; embroidery by Nishimura; lacquer by
Shirayama, Shosai Akamatsu and others; and iron work
by Yamada Chosaburo. There are masterpieces of
landscape art, exquisite examples of sculpture in ivory,
wood, terra cotta and bronze, showing groups and
figures illustrative of scenes in Japanese life; wonderful
pieces of modern cast bronzes, and the most beautiful
specimens of lacquer hardly to be surpassed by any old
works. There also are examples of painting by artists
who have studied and worked under Western influence.
The Swedish section presents a strongly character¬
istic collection. In no country is art more patriotic or
more distinctly national than in Sweden. The national
spirit, which was clearly evidenced at Chicago, and is
as clearly shown here, has been fostered by a constant
effort to preserve the national feeling in Swedish artists
who study in foreign schools, and by the custom that
artists returned from abroad shall impart to the younger
artists at home the benefits of their instruction.
It was found possible only to install a portion of
Austria's fine and representative exhibit in the galleries
xix
CAM I* V 2: WKHT * %M VNITKO STATES SEC TION
which had been assigned to her in the Art Palace, and
it was impossible to increase the space allotted; so
a great part of the collection is to be seen in the
National Pavilion, where, in several characteristically
decorated galleries, it is shown to good advantage.
The exhibit of Hungary also is divided. Three gal¬
leries in the West Pavilion are devoted to the more
important examples, but many works are installed in
the national section in the Manufactures Building.
The exhibit includes paintings by artists well-known
in this country, as Munkacsy, and also many strong
examples by artists whose work has not been seen here
before.
Two countries new to our people, in art, are Argen¬
tina and Bulgaria. While their art dates back hardly
twenty-five years, they send works in the several groups
which have commanded the respect of judges, — as is
witnessed by the list of awards.
The exhibits installed in the galleries devoted to our
own section represent examples of nearly every form
of art work that has been produced in our country
during the period that has elapsed since the Columbian
Exposition. The total number of exhibits accepted by
the National Jury of Selection is not so great as at
Chicago, but the standard of judgment, it is believed,
was much higher.
Hypercritical observers frequently find fault with
the varied technical methods of expression displayed
in a collection of works by American artists; they find
in this proof positive that we are not forming a national
school, in the sense that there has been developed a
British, French, Dutch or German School by successive
generations of artists of these respective countries.
It is true that in the various galleries in which are
installed works by our own painters are found pictures
which reflect strongly the influence of every prominent
school or group of painters recognized as a factor in
the art of our time. May we not find in this supposed
xxi
GAttKKY 34: WIIT A*P NOUTH WAl.tS, MOU.ANO
fault an evidence of truth in the work of our artists.
We are a mixed people—and in giving expression to
these various phases artists are giving the truest pos¬
sible indication of national characteristics. Out of this
will come a national art which will be as strongly ex¬
pressive of that which we are as a people, as is the art
of Holland, France, Germany, Sweden, or Japan ex¬
pressive of the people of those countries.
In studying the installation of the collections, as
also the decoration of the galleries of the various na¬
tional sections, a distinctly characteristic expression of
individuality in style readily is observed.
In the galleries of the central structure—which it is
hoped will become a permanent art museum, dedicated
for all time to the people of this city, and those of the
country tributary to it—are installed the exhibits of
the artists of our own country. In the separate pa¬
vilions on the east and west, and in the international
sculpture court on the south, are installed the contribu¬
tions of the twenty-five foreign countries participating.
There are also galleries and exhibit spaces provided
in the several national pavilions for the installation of
exhibits for which it was found impossible to grant
space in the art buildings. The quiet, somewhat retir¬
ing, tone of wall covering in the Holland section, made
up of broken greens, yellows and greys, emphasized by
dull purples, dark greens and golden browns in the
friezes is in complete harmony and keeping with the
character of the exhibits arranged in the eleven gal¬
leries devoted to that section.
In no section of the department is there greater
harmony in the scheme of color in the decoration of
the galleries than in Austria. The wall colors are deli¬
cate in tone, and vary from a strong straw color of a
slightly greyish tone to a tender mauve. Broken pur¬
ples and deep greys have also been used, the surfaces
broken by figures woven in silk. The friezes are of a
similar tone to the wall color, the designs embroidered
xxiii
CAixrsv U3 north sinr itai.ian section
in the same tone of silk or in applique. Students or
others interested in household decoration could well
devote time and study to the scheme of color and
method of treatment followed in this series of galleries.
The Departmental Jury showed its appreciation of the
artistic excellence of the scheme of installation adopted
hy the Austrian commission by awarding it a special
gold medal “for the best, most complete, and most
attractive installation.”
The Hungarian section also may he studied to ad¬
vantage. Here the artist in charge has broken quite
away from the conventional ideas of wall decoration and
has resorted to the use of a rich, deep tone of purple, re¬
lieved hy a frieze of delicate form made up of gold,
bluish grey and edges of silver. The general scheme
of the second gallery is a deep, rich red, with character¬
istic work in the frieze made up of strong colors.
One scheme of color dominates the galleries of the
French section a neutral red. The frieze, in deep
golden brown, blues and red, is from the design of
Besnard. Inscriptions are introduced, as also a con¬
ventional figure.
The adjoining range of galleries which form the
Italian section is treated in a manner quite original.
The textile fabric used as wall covering is delicate in
texture and rich in color. The friezes are of appro¬
priate design, embroidered in the most harmonious
colors.
The general scheme of color carried out in the
treatment of the Belgian section is of russet and gold,
relieved by dark, rich tones of blue in the frieze, into
which the names of the great masters of the Flemish
school are introduced with good decorative effect.
In the sixteen galleries assigned to the German col¬
lections the decoration ranges in character from the
somewhat monumental treatment of the walls and de¬
tails of the main galleries, to a simple tonal scheme of
wall colors in the smaller galleries. The general effect
is dignified and serious, and serves to enhance the value
XXV
View IX ttAI LESV IJO: JAPANESE SECTION
of the exhibits. Sculpture has been freely placed in
the picture galleries—a doubtful practice, but in this
instance effective and agreeable.
The Swedish galleries are treated in a distinctive
style, with walls of neutral colors, low in tone—browns,
slate and broken maroon being freely used. Sculpture
is utilized in the galleries of this section also, with
decorative effect.
The dominant colors used in the Canadian, Inter¬
national and British sections are strong reds on the
walls, with light grev, white and gold in the friezes.
In the British galleries, the friezes are heraldic in char¬
acter, with details painted in positive colors on a white
ground.
The Japanese section comprises seven spacious gal¬
leries. The decorative appointments are thoroughly
characteristic. The general scheme of color is made
up of positive tints, green and blue predominating. The
friezes are the work of Japanese artists, and were
done in place, directly on the walls.
Portugal. Russia, Cuba and Mexico have adhered to
conventional tones of red in the general treatment of
their respective galleries.
Bulgaria’s gallery is treated in a grey-green wall
covering, with a harmonious frieze decorated in broken
teils relieved with inscriptions in bronze.
The walls of the United States section have been
decorated with brocade effects in jute, in colorings of
soft red, pale green and straw color, with friezes of
original design echoing the colors of the walls. In the
two larger galleries there is a decorative scheme de¬
vised by Charles S. Holloway, involving seated female
figures with garlands, and cartouches containing the
names of prominent American artists deceased.
In the hanging of the pictures of the United States
section, effort was made to place each work so that its
effect might be enhanced rather than depreciated by its
surroundings. Certain pictures were chosen to be hung
in those galleries where the decorative color scheme
xxvn
CAl.tEfeV 15: VMtsT VCALt, tSITEK STATES SECTION'
was to their advantage. Again, each wall was treated
from the standpoint of artistic composition—as to sizes
of works, their subjects and their colors. Tt will be
noted that a carefully studied and harmonious “balance”
is maintained on every wall in the United States section.
* * * *
The executive staff of the department, which has
brought its work to success, comprises many men of
recognized ability in artistic and executive work; among
them Mr. Charles M. Kurtz, Assistant-Chief of the
Department of Art, who occupied a similar position
at the World’s Columbian Exposition; Mr. Will H.
Low, Superintendent of the Loan Division; Mr. George
Julian Zolnay, Superintendent of the Division of Sculpt¬
ure; Mr. F. A. Whiting, Superintendent of the Division
of Applied Arts; Mr. George Corliss, Superintendent of
Exhibit Records, and Mr. William H. Fox, Secretary.
The executive is under obligations to the leading
artists and art lovers of the country, who have with
one accord aided in the preliminary work of the United
States section in every possible way.
XXIX
ci ai i r •»v 117: *<>t*r it r a**t rokNr u mescti section
THE INTERNATIONAL JURY OF AWARDS
The artists delegated by the various countries par¬
ticipating in the Art Department of the Exposition, to
serve upon the International Jury of Awards, were:
For the United States—Thomas Allen, E. A. Batch-
elder, S. S. Beman, Hugh H. Breckenridge, Carlton T.
Chapman, William M. Chase, Ralph Clarkson, Walter
Cook, Colin Campbell Cooper, Charles Percy Davis,
Frank Miles Day, Lockwood De Forest, Frederick
Dielman, Frank Duveneck, Daniel Chester French, Mrs.
Eugene Field, R. Swain Gifford, Charles Grafly, Will H.
Low, Hermon A. MacNeil, Elizabeth St. John Mathews,
J. L. Mauran, C. F. W. Mielatz, James Craig Nicoll,
Joseph Pennell, Mary Solari, Theodore C. Steele, Alice
Barber Stephens, Edmund C. Tarbell, S. Seymour
Thomas, Alexander T. Van Laer, Bessie Potter Vonnoh,
Robert W. Vonnoh, C. Howard Walker, H. Langford
Warren, Rose Weld, Frederic Allen Whiting, Carelton
Wiggins, Henry Wolf, Edmund H. Wuerpel.
For Argentina—Eduardo Schiaffino, George Julian
Zolnay.
For Austria Dr. Paul Cohn, Adolph Kraus, Gustav
Niederlein, Nicolaus Staffs, William J. King.
For Belgium -Guillaume De Groot, Ernest Verlant.
For Brazil—J. Americo dos Santos.
For Bulgaria -Charles M. Kurtz.
For Canada—Paul Harney.
For Cuba — Gonzalo de Quesada.
For Germany — William J. Baer. Erich Hoesel, Rich¬
ard Muller, Hans von Petersen, Max Schlichting, Fr.
von Thiersch.
For Holland—William H. Howe, Willy Martens,
John C. Schuller, Hubert Vos.
For Hungary — Bartelon Karlovsky, George Julian
Zolnay.
xxxi
uai *«V Sj KOItHWtK COHNER, BKICIAN SECTION
For Italy— Professor Pepoti Cantalamessa, 11 Mar-
chese Majnoni d’ltignano, Ugo Ojetti.
For Japan Tooru Iwamura, Heromich Shugio.
For Mexico— Tsidoro Aldasoro.
For Portugal -Marcel Horteloup.
For Russia- William H. Fox, J. M'. Godberg, Emil
Vauthier.
For Sweden — Anshelm Schultzberg, Dr. Eugene
Wagner.
These jurors served in groups as follows:
GROUP IX
Paintings and Drawings
Chairman . Thomas Allen.United States.
Vice-Chairman . Willy Martens.Holland.
Second Vice-Chairman . Hr nest Verlant.Belgium.
Secretary... William If. Fox.Russia.
Thomas Allen .... United States.
Hugh II. P.recken ridge
Carlton T. Chapman
William M. Chase. .
Ralph Clarkson.
Colin Campbell Cooper
Frederick Dielman...
Frank Duveneck.
R. Swain Gifford....
Will H. Low.
J. C. Nicoll.
Mary Solari. “
T. C. Steele.
Kdmund C. Tarbell..
S. Seymour Thomas.
A. T. Van Laer_
Bessie Potter Vonnoh
Robert W. Vonnoh..
Edmund II. Wuerpel
Carleton Wiggins... “
Eduardo Schiaffino... Argentina.
Adolph Kraus.Austria.
Nicolaus Staits.. “
Dr. Paul Cohn. "
Ernest Verlant.Belgium
J. Americo dos Santos.Brazil.
Charles M. Kurtz.Bulgar'a.
Paul Harney.Canada.
Gonzalo de Quesada.Cuba.
Hans von Petersen.Germany.
Max Schlichting. “
William J. Baer. “
William H. Howe.Holland.
Willy Martens. “
John C. Schiiller. “
Hubert Vos ... “
Bartalon Karlovzkv.Ilungiry.
II Marches* Majnoni
d’ltignano .Ttaly.
Ugo Ojetti. “
Heromich Shugio .Japan.
Isidoro Aldasoro.Mexico.
Marcel Horteloup ...... Portugal.
William H. Fox.Russia.
J. M. Godberg. “
Emil Vauthier. “
Anshelm Schultzberg.Sweden.
Dr. Eugene Wagner. “
xxxi it
CM.! EfcY 31: EMIT AMO SOl'TII WAI-t.S. UNITE!' STATES FECTION
GROUP X
Engravings and Lithographs
Chairman.
Joseph Pennell.
United States.
Vice-Chairman.
Alice Barber Stephens. . ..
United States.
Secretary.
Hubert Vos.
Holland.
C. F. W. Mielatz.United States. Henry Wolf .
<<
Joseph Fennel! .
Richard Mueller .
Alice B. Stephens...
Hubert Vos .
GROUP XI
Sculpture
Chairman.
. Richard K. Brooks.
United States.
Vice-Chairman.
. Guillaume de Groot.
Belgium.
Secretary.
. George J. Zolnay.
Argentine.
Richard F. Brooks.United States. George T. Zolnay..
Daniel C. French...
Gustav Niederlein
Charles Graflv .
Guillaume de Groot.Belgium.
Herman A. MacNcil.
Erich Hoesel ....
Elizabeth St. John
Prof. Pcpoti Cantalamessa. .Italy.
Matthews .
Tooru I wamura .
GROUP XII
Architecture
Chairman.
United States.
Vice-Chairman.
. Fr. von Thiersch.
Germany.
Secretary.
.. Frank Miles Day.
United States.
S. S. Beirtan.United States. 11. l^ingford Warren
Walter Cook .
Rose Weld.
((
Frank Miles Day....
Fr. von Thiersch..
J. L. Mauran.
“ M. P. McArdle.. .
GROUP XIV
Applied Art
Chairman... ...
..C. Howard Walker.
United States.
Vice Chairman.
. . Heromich Shugio.
. 1apan.
Second Vice-Chairman. ..
. William J. King.
Austria.
Secretary.
. . Frederick Allen Whiting. .
United States.
Frederic Allen Whiting.
A. Batehclder ...Unite*
1 States. Gustav Niederlein
.. Austria.
Charles Percy Davis.
“ Kate A. Car!.
.China.
Mrs. Eugene Field..
Erich Hoesel ...
I.ockwood de Forest.
** Willy Martens ..
.Holland.
C. Howard Walker..
“ George Julian Zolnay.... Hungary.
Frederic A. Whiting.
11 Tooru Iwamura .
Heromich Shugio, Japan.
xxxv
jo: sovTiiwro coimd cnith> states section
LIST OF HONORS*
CONFERRED BY THE
INTERNATIONAL JURY OF AWARDS
UPON ARTISTS EXHIBITING IN
THE DEPARTMENT OF ART
OF THE
LOUISIANA PURCHASE EXPOSITION
UNITED STATES SECTION
GROUP IX
Grand Prize
Sargent, John Singer
Diploma With Medal of Honor
Commemorating Distinguished Service in Art.
La Farge, John
Gold Medals
Alexander, John W.
Harlow, Myron
Heaux, Cecilia
Benson, Frank W.
Blashheld, Edwin H.
Houghton, George H.
Brush, George de Forest
Carlsen, Emil
Cox, Kenyon
Crane, Bruce
De Camp, Joseph R.
Eakins, Thomas
Fisher, Mark
Fromuth, Charles
Fuller, Lucia Fairchild
Guy, Seymour J.
Hallowell, George H.
Hamilton, J. McLure
Hassam, Childe
Hills, Laura C.
Homer, Winslow
Johnson, Eastman
Jones, H. Bolton
Kendall, William Sergeant
McEwen, Walter
Melchers, J. Gari
Muhrman, Henry
Ochtman, Leonard
Shannon, J. J.
Thayer, Theodora W.
Tryon, Dwight W.
Vinton, Frederick P.
Walker, Horatio
Weir, J. Alden
Wiles, Irving R.
‘These honors are as accurate as could be obtained from the
representatives of the various sections. They are not, at present,
to be regarded as "official,” though it is believed that all will t>e
found in the "official list” when authoritatively published.
NNXVU
GALLERY I 0 : NORTH WALT., UNITED STATES SECTION
Silver Medals
Aid, George C.
Anschutz, Thomas P.
Bartlett, Frederick
Beckwith, J. Carroll
Bell, Edward A.
Bogert, George It.
Bohm, Max
Breck, George W.
Bridgman, Frederick A.
Bunce, W. Gedney
Chase, Adelaide Cole
Church, Frederick S.
Clark, Walter
Coffin, William H.
Cox, Louise
Curran, Charles C.
Davis, Charles II.
De Haven, Frank
Dewey, Charles Melville
Dufner, Edward
Du Mond, Frank V.
Dyer, Gifford
Eaton, Charles Warren
Emmet, Ellen
Emmett, Lydia Field
Ericson, David
Flagg, Montague
Florian, Walter
Forsyth, W.
Foster, Ben
Frieseke, Frederick C.
Glackens, William J.
Greene, Mary Shepard
Groll, Edward L.
Grover, Oliver 1).
Gruppe, Charles I’.
Guerin, Jules
Harrison, Birgc
Ilartwich, Herman
Henri, Robert
Hubbell, Henry S.
Isham, Samuel
Johnston, John Humphreys
Jones, Francis C.
Jongers, Alphonse
Keller, Arthur I.
Kost, Frederick W.
Lawson, Ernest
Lie, Jonas
Lockwood, Wilton
Loeb, Louis
Maurer, Alfred H.
Meakin, L. II.
Metcalf, Willard II.
Miller, Richard E.
Moschowitz, Paul
.Murphy, Herman Dudley
Murphy, J. Francis
Mygatt, R. K.
Nettleton, Walter
Nourse, Elizabeth
Oakley, Violet
Palmer, Walter L.
Parker, Lawton S.
Peters, Charles Rollo
Poore, Henry R.
Porter, Benjamin C.
Potthast, Edward H.
Prellwitz, Henry
Redfield, Edward W.
Rehn, F. K. M.
Reid, Robert
Rolshoven, Julius
Rook, Edward E.
Schilling, Alexander
Schofield, W. Elmer
Sears, Sarah C.
Sewell, Robert V. V.
Sherwood, Rosina Emmet
Shirlaw, Walter
Snell, Henry B.
Stoddard, Frederick L.
Talcott, Allen B.
Tanner, Henry O.
Turner, C. Y.
Vail, Eugene
Van Boskerek, Robert VV.
Volk, Douglas
Walcott, H. M.
Walden, Lionel
XXXIX
QALI.KRV if. NORTH WAIL. I’NITTP ST \TRS SECTION
*
Walker, Henry 0.
Wheeler, Janet
Waikins, Susan
Whittredge, Worthington
Wendt, William
Wood, Ogden
Wetberbee, George
Woodbury, Charles H.
Young,
Charles Morris
Bronze Medals,
Adams, J. Ottis
Hopkinson, Charles
Ahrens, Ellen Wetherald
Holloway, Frank
Baker, Martha S.
Johansen, John C.
Beal, Gifford
Kendall, Margaret
Beckington, Alice
Kline, William F.
Birney, W. Ver Blanck
Klumpke, Anna E.
Bittinger, Charles
Koopman, Augustus
Blenner, Carle J.
Lathrop, William L.
Bright, John Irwin
Lippincott, William H.
Buehr, Carl Albert
Lyman, Joseph
Burleigh, Sidney R.
Marsh, Frederick Dana
Burpee, William H.
MacChesney, Clara T.
Burroughs, Bryson
McLane, M. Jean
Butler, Howard Rusell
McCord, George Herbert
Campbell, Edward M.
Mersfelder, Jules
Carr, Lyell
Mora, F. Luis
Clark, Alson S.
Mosler, Gustav Henry
Cooper, Emma Lampert
Mura, Frank
Couse, E. Irving
Myers, Jerome
Crane, Frederick
Needham, Charles Austin
Dean, Walter L.
Nicholls, Rhoda Holmes
Deming, Edward W,
Packard, Mabel
Dickson, Mary E.
Palmer, Pauline
Earle, Elinor
Parton, Arthur
l'arny, Henry F.
Pattison, James William
Freer, Frederick W.
Paxton, William H.
Foote, Will Howe
Perry, Lilia Cabot
Forsyth, \V'.
Proctor, A. Phimister
Gallison, H. H.
Robinson, Will S.
Gauley, Robert D.
Rosenthal, Albert H.
Gay, Edward
Saxton, John Gordon
Glanian, Eugene Fish
Schreyvogel, Charles
Green, Frank Russell
Schwill, William V.
Grover, Oliver Dennett
Searle, Alice T.
Hale, Philip L.
Sears, Taber
Herter, Adele
Sewell, Amanda Rrewster
Henry, E. L.
Sbean, Charles M.
Hess, Emma Kipling
Shurtleff, R. M.
Herzog, Louis
Sloan, Mariana
Hitchcock, Lucius W.
Smillie, George H.
GAIIERY |8: WEST AX P NORTH WMLS, I'NITEtl STATES SECTION
Smith, Letta Crapo
Soper, James TT. Gardner
Stacey, John F.
Svendsen, Charles C.
Sylvester, Frederick O.
Thomas, Paul K. M.
Thomason, Francis Q.
Thompson, Leslie P.
Todd, llenry Stanley
Turcas, Jules
Ulman, Eugene Paul
Vanderpoel, John H.
Van der Veer, Mary
Voorhees', Clark J.
Wadsworth, Frank R.
Waldeck, Carl Gustav
Wehrschmidt, Daniel A.
Wicgand, Gustav
Wiley,Frederick J.
Wing, Miss A. B.
Wood, Louise
Wood well, Joseph R.
Yates, Cullen
GROUP X
Etchings, Engravings and Lithographs
Grand Prize
Cole, Timothy
Diploma with Gold Medal of Honor
Commcmora'ing Distinguished Service in Art
Wolf, Henry
Gold Medals
French, Frank
Keller, Arthur I.
Kruell, Gustav
Oakley, Violet
Silver Medals
Bacher, Otto H. (Retrospective)
Ben,strom, Victor
Gibson, Charles Dana
Harding, Charlotte
Hitchcock, Lucius W.
I.oeb, Louis
McCarter, Henry
Meinshausen, George
Mura, Frank
Smith, Jessie Willcox
Weir, J. Alden
Wenzell, A. B.
Bronze Medals
Bicknell, W. H. W.
Chadwick, C. W.
Cowles, Maud Alice
Evans, John W.
Glackens, \V. J.
Green, Elizabeth Shippen
Klotz, H.
Lewis, Arthur Allen
While
McLaughlin, Daniel S.
Manley, Thomas R.
Merrill, Hiram C.
Northcote, Stafford M.
Rosenthal, Max
Steele. Frederick Dorr
Sterne, Maurice J.
Wehrschmidt, Daniel A.
Charles Henry
xliii
QAI.I ItY 2 \ rvM ASn SOUTH WA! I S. UNITED STATES SECTION
GROUP XI
Sculpture
Grand Prize
Bartlett, Paul Wayland
Diploma with Gold Medal of Honor
Commemorating Distinguished Service in Art
Saint-Gaudens, Augustus
Ward, John Quincy Adams
Adams, Herbert
Gold Medals
Konti, Isidore
Barnard, George Gray
Lopez, Charles A.
Bitter, Karl T. F.
N'iehaus, Charles H.
Borglum, Gutzon
Proctor, A. Phimister
Borglum, Solon H.
Taft, Lorado
Dallin, Cyrus E.
Vonnoh, Bessie Potter
Barnhorn, Clement J.
Silver Medals
Mears, Helen
Bissell, George E.
Miller, J. Maxwell
Bovle, John J.
Murray, Samuel
Brenner, Victor D.
Piccirilli, Attilio
Bringhurst, R. P.
Picciriili, Furio
Calder, Alex. Sterling
Pratt, Bela L.
Ezekiel, Moses
Roth, Frederick G. R.
Flanagan, John
Schuler, Hans
Longman, Evelyn B.
Simmons, Amory C.
Ayton, Charles
Weinman, Adolph A.
Bronze Medals
Linder, Henry
Bagg, Louise E.
Luke man, Augustus
Birge, Edward
Moore, Lou Wall
Carpenter, Margaret S.
Ney, Elizabeth
Grunelle, Leonard
Pfeiffer, Clara
Eberle, St. L.
Price, Henry
Guild, Mrs. E. C.
Rhind, J. Massey
Harvey, Eli
Salvatore, Victor
Heber, C. A,
Sawyer, E. Warren
Hyatt, A. B.
Schw'artzott, M. M.
Jaegers, Albert
Scudder, Janet
Ketneys, Edward
Stillman, Effie
Kitson, T. A. R.
Tonetti, F. M. L.
I^angton, B. Frances
Ward, Elsie
Yandell, Enid
GALLERY j: NORTH ANf> EA«T WAL 1 S. WHITED STATES SECTION
Burnham, Daniel H.
Ilrunner, Arnold W.
Carrfire, John M.
GROUP XII
Architecture
Gold Medals
Carrfire & Hastings
Ferry & Clas
Hilbert, Cass
Kimball, T. R.
Silver Medals
Andrews, Jacques & Rantoul
Atterbury, Grosvener
Boring & Tilton
Cope & Stewardson
Fames & Young
Vaughan,
Fyre, Wilson
Heins & La Farge
Rankin, Kellogg & Crane
Shepley, Rutan & Coolidge
Taylor, J. Knox
Henry
Longfellow, A. W.
Rogers, James Gamble
Bronze Medals
Wheelwright & Haven
Winslow & Bigelow
GROUP XIV
Original Objects of Art Workmanship
Grand Prizes
Mercer, Henry C. Robertson, Hugh C.
Rogers, Bruce
Gold Medals
Codman, William C., for artistic rendering of design
Farniham, Baubling, for artistic r
Grueby, William II.
Hurley, E. T.
St. John, Agnes
Silver
Barnutn, Frances
Binns, Charles F.
Bontattler, N. G., Collaborator
Carson, Jane
Curtis, William Fuller
Dudley, Harry W., Hodge, J.
Samuel, Collaborators
Krasser, Frederick
Volk,
rndering of design
Sears, Mary Crease
Updike, D. Berkeley
Van Briggle, Artus
Medals
Kendrick, George P., Collabora¬
tor
Leonard, Mrs. Anna B.
Meyers, Joseph F.
Mitchell, Marianne
Nickerson, Thomas S.
Stone, Arthur J.
Tiffany, Louis C.
Douglas
Baker, Cordelia T.
Conwell, Clark
Bronze Medals
Dolese, Rose and Minnie
Easton, Charles Frederick
xlvn
cAiimv 115: west wall, rseNcu section
Fechhcimer, Rose
Foote, Florence
Gerow, Grace D.
Gowdy, Fred \V.
Jones, Henrietta O.
Knight, Mary C.
Kunkler, Adolph C.
Le Blanc, Marie Hoa
MacNeil, Mrs. Carol B.
Marot, Elizabeth G.
Perkins, Lucy F.
Pomeroy, Sanford B.
Shaw, Mrs, Emily M.
Stiles, Gertrude
Van Briggle, Anna G.
Volkmar, Fred E.
Walrath, Fred E.
Young. George B.
ARGENTINA
GROUP IX
Paintings and Drawings
Grand Prize
Carcova, Ernesto de la
Gold Medals
Collivadino, Pio Giudici, Reynaldo
Sivori, Eduardo
Artigue, Emilio
CarafTa, Emilio
Silver Medals
Garcia, Ricardo
Ripamonte y Toledo, Carl
Bronze Medals
Cid de Pampt, Diana Quiros, Cesareo B. de
Wernicke, Julia
GROUP X
Etchings, Engravings and Lithographs
Silver Medal
Collivadino, Pio
GROUP XI
Sculpture
Grand Prize
Yrurtia, Rogelio
Gold Medal
Dresco, Arturo
Silver Medal
Correa, Morales L.
Bronze Medal
Alonzo, Mateo
i;\U>KY 18: NORTH *sn EAST » M I S, UNITED STATES SECTION
AUSTRIA
Commemorative Diploma and Gold Medal
To the Imperial Royal Ministry of Education, for the Most Complete
and Most Attractive Installation in the Department of Art.
GROUP IX
Paintings and Drawings
Grand Prize
Hampel, Walter
Delug, Alois
Ilynais, Vojetch
Kauffman, Adolph
Konopa, Rudolph
Gold Medals
Lebiedzki, Eduard
Mehoffer, Joseph
Schaeffer, August
Svabinsky, Max
Axenstowicz, Theodor
Bamberger, Gustav
Silver Medals
l’reisler, Jan
Ranzoni, Hans
Falat, Juljan Russ, Robert
Gellcr, Johann Nepomuk Schwaiger, Hanus
Hessl, Gustav II. Slavicek, Antonin
Joanvits, Paul
Jungwirth, Joseph
Kasparides, Eduard
Kempf, Edler von 11.
Mucha, Alfons
Stauffer, Victor
Thiele, Franz
Wilda, Charles
Wilt, Hans
Wyczolkow'.ski, Leon
Ameseder, Eduard
Bernt, Rudolf
Germela, Raimund
Graft, Ludwig Ferd
llonsa, Jan
Hudecek, Antonin
Jahn, Gustav
Kinzel, Joseph
Kruis, Ferdinand
Bronze Medals
Larwin, Hans
Luntz, Adolf
Merode, Carl Freiherr von
Sell iff, Robert
Simon, Frantisek
Tonrec, Heinrich
Uprka, Joza H.
Wyezolkowski, Leon
/ctsche, Eduard
Zoff, Alfred
GROUP X
Etchings, Engravings and Lithographs
Gold Medal
Kupka, Frantisek
li
els.’
GM1IMV 1POKIN0 AT S'lc.lt t UNITED STATES SECTION.
Danilowatz, Joseph
Silver Medals
Hagenhart, Fritz
Cossmann, Alfred
Holarek, Alfred
Bronze Medals
Kock, Ludwig
Tichy, Karl
GROUP XI
Sculpture
Grand Prize
Zumbusch, K a.spar, Ritter von
Knutsch, Henri
Gold. Medals
Scharff. Anton Seib, Wilhelm
Tlreitluit, Peter
Gharlemont, Theodor
Gruber, Jakob
Hofmann, Edmund
Silver Medals
Katka, Rohttmle
NTarschall, Rudolf
Pawlick, Franz X.
Pohl, Adolf
Seiffert, Franz
Hausntann, F,
Kaan, Arthur
Laszczka, Konstantin
Lax, Joseph
Bronze Medals
Schwartz, Stefan
Stein, Alwvn von
Swoboda, E. A.
Wollek, Karl
GROUP XII
Architecture
Commemorative Gold Medal and Diploma
Ludwig Bauman, for Design of the Austrian Government Pavilion
GROUP XIV
Original Objects of Art Workmanship
Gold Medals
Emmel, Rruna
Kotera. Jan
liii
Emmel, Rruna
GMIINV 17: LOOK I MG EAST, AT NIGHT, I'NITEl) STATES SECTION.
Exner, Hilda
Novak, Prof. E.
Sc'himkowitz, <).
Silver Medals
Sell Ian gen hausen, Emma
Schufinsky, Victor
Suchardo, S.
Wolf, Karl
Engelhardt, Joseph
Kloucek, Prof
Koehler, Karl
Petr, K.
Bronze Medals
Powolny, E.
Sika, Juta
Silek, J.
Unger, Hilda
VVutscher, Karl
BELGIUM
GROUP IX
Paintings and Drawings
Grand Prize
Ileymans, Adrian Joseph
Commemorative Gold Medal and Diploma of Honor
For Distinguished Service in Art
Courtens, Franz
Buysse, Georges
Charlet, Franz
Claus, Emile
Courtens, Franz
Delaunois, Alfred
Gold Medals
Dierckx, Pierre J.
Frederic, Leon
Leempoels, Jef
I^eveque, August
Khnopff, Fernand
Willacrt, Ferdinand
Boudry, Alois
Cassiers, Henry
Cluysnaer, Andre
De Hem, Louise
Farazyn, F.dgard
Silver Medals
Laermans, Eugene
Robert, Raphael
Stacquet, Henri
Vandivort, Louis
Verhaert, Piet
Wytsman, Rodolphe Paul
Abattuci, Pierre Jean
Baes, Firinin
Blieck, Maurice
Calais, Hen net te
Cam bier, Louis
De Bievre, Marie
Maeck, Leopold
Hens, Franz
Hoorickx, Ernest
Bronze Medals
Horen bant, Joseph
Jottrand, Lucien
Mathieu, Paul
Thomas, Henri
Van Andringa. Martin
Van Beurden, Alphonse G.
Van Cauwelaert, Eniile Jean
Van Hove, Edmond
Wytsman, Juliette
GROUP X
Etchings, Engravings and Lithographs
Silver Medal
Peeters, Louis
Bernier, Charles
Bronze Medals
Lauwers, Francois
Lanbeaux. Jef
GROUP XI
Sculpture
Grand Prizes
Meunicr, Constantin
Lagae, Jules
Gold Medals
Samuel, Charles
Dubois, Paul
Dupon, Josue
Silver Medals
I.eRov, Hypp
Nocquet, P. A.
Bandrenghien, J.
BHckx, T. G. M.
Boncquet, H.
Bronze Medals
Jesprrs, L. E. M.
\'an Beurden, A.
Van Peteghen, A.
Vogelaar, L.
GROUP XIV
Original Objects of Art Workmanship.
Silver Medal
Desinedt, Pierre
lvi
Bronze Medal
Zech, J. B.
BRAZIL
GROUP IX
Paintings and Drawings
Gold Medal
Visconti, E.
Silver Medals
'igueiredo, A. Silva, Oscar P. da VVcinga.rtner, Pedro
Bronze Medals
Elrocos, Modesto I Del jri n o, A. Pac heco, Insley
GROUP X
Etchings, Engravings and Lithographs
Bronze Medal
P. roc os, Modesto
GROUP XI
Sculpture
Gold Medal
(lirardct, A. G.
Bronze Medal
Zani, Atnadeu
GROUP XIV
Original Objects of Art Workmanship
Bronze Medal
Visconti, E.
BULGARIA
GROUP IX
Paintings and Drawings
Grand Prize
Vechin-Yarc*lav
Gold Medal
Mrkv'tchka, .1. \ ■
Silver Medal
MitolT, A.
Bronze Medal
Rerberoff, Christo
GROUP XI
Sculpture
Silver Medal
Scliatz, I tor ir
GROUP XIV
Original Objects of Art Workmanship
Bronze Medals
Michailoff, C. I'irponoff, I' J.
CANADA
GROUP IX
Paintings and Drawings
Commemorative Diploma and Gold Medal of Honor
For Distinguished Service in Art
Harris. Hubert
Brvmner, William
Carlyle, Florence
Silver Medals
I lyonnet, Kdtnund
Williamson, A. C.
Challener, Frederic S.
Cullen, Maurice
Gagnon, Clarence A.
Hammond, John
Hope, William
Bronze Medals
Knowles, F. McGillivray
Muntr, I-a urn
Reid, G. A.
Tulljr, Sidney Strickland
W atsoti, Hoo l
lviii
CUBA
GROUP IX
Paintings and Drawings
Gold Medal
Romanach, Leopoldo
Bronze Medals
Melero, Aurelio Mercier, Concepcion Tejada, J. J.
GERMANY
GROUP IX
Paintings and Drawings
Grand Prize
Menzel, Adolph von
Commemorative Gold Medal and Diploma
For Distinguished Service in Art
Kaulbach, Fritz August von
Bantzer, K.
Bartels, Hans von
Defrcgger, Franz von
Diez, Wilheltn von
Erdtelt, Alois
Herrmann, llans
Gold Medals
Koester, Alexander
Kuehl, Gotthard
l.oefTtz, L. von
Schreucr, Wilheltn
Vogel, itugo
Werner, A. von
Silver Medals
1’loss, Carl
Echler, A.
Fngel, Otto H.
l'irle, Walther
Fischer -Gurig, Adolph
Freudeinann, Victor
Friese, Richard
C.ruetzner, Eduard
Hamacher, Willy
Hoch, Franz
Kail morgen, Frederick
Kuestner, Carl
Laupheinver, Anton
Maennchen, Adolph
Marcus, Otto
Meyerheim, Paul
Rahending, Fritz
Scheurenherg, Joseph
Schuster-Woldau, Raffael
Sinun, Franz
Thor, \\ alter
Ziegler. Carl
Adam, Julius
Anrlersen Lundhy, A.
Bronze Medals
llaer, Fritz
Canal, G. von
tx
Dielitz, Conrad
Fechner, llans
Fink, August
Flesch-Brunningen, L. von
Fuks, Alexander
Gaisser, M.
Heimes, Heinrich
Holmberg, August
Holzapfel, Carl
llorst-Sehulze, Paul
Junker, Hermann
Kowalski Wierusz, A. von
Koberstein, Hans
Knopf, Hermann
Kronberger, Carl
Marx, Gustav
Meyer, Kunz
Mohrbutter, Alfred
Meyn, George L.
Mueller-Sell oenef eld
Nagel, Wilhelm
Petersen, Walter
Schaeffer, Philipp 0.
Schnee, Hermann
Sehuster-W oldau, George
Structzel, Otto
Schraegle, Gustav
Unger, Hans
Uth, Max
Vogeler, Heinrich
Wiesinger-Florian, Olga
Wirth, Anna Maria
GROUP X
Etchings, Engravings and Lithographs
Krueger, All>ert
Gampert, Otto
Kresse, Oswald
Gold Medals
Luehrig, Georg Pictschmann.
Silver Medals
Schlumprecht, Heinrich
Seydel, Hans
Stcinhausen, Wilhelm
F..
M.
Cosomatl, F.ttore
Filers, Gustav
Fabian, Max
Bronze Medals
Gentz, Ismael
Kuelin. Ludwig
Mevcr, Hans
Raab, Doris
Begas, Reinhold
Briitt, A.
Busch, Georg
Eberlein, Gustav
Baumbach, Max
Freese, Ernst
Geyger, E. M.
Heilmaier, Max
GROUP XI
Grand Prizes
P.reuer, Peter
Gold Medals
Epler. Heinrich
Klein, Max
Wand schneidcr, Wilhelm
Silver Medals
Janensch, Gerhard
Lepke, Ferdinand
Sclvauss. Martin
Seffnrr, Carl
Stocker. Daniel
lx
Bronze Medals
Beyrer, Eduard
Pagels, H. M.
Sohmidt-Kestncr
Stark, Constantin
Sturm, Paul
Von Gosen, Theodor
Vordermaier, Ludwig
Wenck, Ernst
Werner, Selmar
Wuensche, Emil
lloeltrig, Reinhart
Hahn, Wilhelm
Heineman, Fritz
Koenig, Richard
Koersohgcn, Josef
Mayer, Rudolf
Merz, Karl
Pfeiffer, A.
GROUP XII
Architecture
Gold Medal
Commemorative Gold Medal and Diploma of Honor
Schmitz, Bruno, for Design of German Restaurant Pavilion, and
Treatment of its Grounds
Silver Medals
P.reslauer & Salinger
Grassel, Hans
llasack, Max
Ilaubcrrisser, George von
Kreis, Wilhelm
Mohi.ng, Bruno
Olbrich, Joseph M.
Schmidt, Heinrich, Baron von
Seidl, Emanuel
Bronze Medals
Thyriot, Franz
Rank, Brothers
GROUP XIV
Original Objects of Art Workmanship
Grand Prize
Liiuger, Professor Max
Gold Medals
lloffacker, Karl
tiulbe, George
Korn has, Prof. C.
,\fueller-Salem, Jul
Schumacher, Fritz
Schmutz-Baudiss, Theo
Sch m i dt - Pec h t, E li zabetb
Silver Medals
Macco, Robert
Bronze Medals
Seidlcr, H.
Scharvogel, J. J.
HOLLAND
GROUP IX
Paintings and Drawings
Grand Prize
Israels, Josef
Commemorative Diplomas and Gold Medals of Honor
For 1 distinguished Service in Art
Berlage, Hendrik Petrus Maris, \\ illem
Mesdag, Hendrik \\ illem
Bauer, Marius A. J.
Blomniers, Bern aril us J.
Breitner, G. Jl.
Bock, Theophile de
Gold Medals
Essen, Jan van
Maris, Willem
Schwartze, Tbercsc
Wild, Card F. Louis de
Witsen, Willem
Apol, Louis
Arntzenius, l'loris
Bastert, Nicolaas
Brief, Arthur
Court, Onderwater II.
Dijsselhoff, G. W.
Gorter, Arnold Marc
Hoppe, Bernard
Jdsselin de Jong, P. de
Jurres, Johannes Hendrik
Kever, Jacob S. H.
Mastcnbrock, Johan II
Aloes, Wally
Otfentiaiis, Tony
1‘ieters, Evert
Roelofs, Albert
Sell regel, Bernard
Sluiter, Willy
Soest, Louis W. van
Wijsmuller, J. II.
Silver Medals
F. de
Bronze Medals
Risschop, Richard
Bongers B.
Broed-elet, Andr£
Cotnte, Adolf le
Dooyeward, Jacob
Frankfort, Eduard
lleyberg, Jonannes G.
Hoynck, van Pai>endrecht J.
Hulk, Johannes Fr. Junior
Xueteli
Koning, Arnold Hendrik
Koster, Anton Louise
Metis, Henricus J.
Mondriaan, Frits
Oldewrft F. G. W,
(tppenoorth, W. J.
Rip, Willem Cornell*
Scinldt, atariinus
Wiggers, Dirk
Trotnp, J.
GROUP X
Etchings, Engravings and Lithographs
Grand Prize
Bauer, Marius A. J.
Ixii
Dake, Prof. C. L.
Dupont, Prof. Pieter
Gold Medals
Graadt van Roggen, Johannes M.
Storm van’s Gravesande, C.
Rosch, Etienne
Haverinan, Hendrik J.
Silver Medals
Hoytema, Th. van
Veldheer, Jacob G.
Witsen, Willem
Koster, A. L.
Bronze Medals
Kramer, Martinus
Regeer, C. J.
GROUP XI
Sculpture
Gold Medal
Wijk, Charles van
Silver Medals
Wienecke, J. C.
Bronze Medals
Hesselink, Abraham Schwartze, Georgina
GROUP XII
Architecture
Bronze Medals
Rerlage, Hendrik Petrus Cuypers, Eduard
GROUP XIV
Original Objects of Art Workmanship
Gold Medals
Rrom, Jan
Hartgring, A.
Lecomte and Mauser
Van Kossem
Cachet, F. Lion
Eisenloeffel, Jan
Lebeau, Chris
Mendes da Costa, J.
Silver Medals
Jansen, W. F. G.
Nienhuis, L.
Nieuwenhuis, T.
Penaat, Willem
Bronze Medal
Nienhuis, L.
lxiii
HUNGARY
GROUP IX
Paintings and Drawings
Gold Medals
Laszlo, F. E. Thorma, J. de
Commemorative Gold Medal and Diploma
For Distinguished Service in Art
Perlmutter, I.
Poll, H.
Bihari, S.
Fereriezy, K.
Grtinwald, B.
Zala, Gyorgy
Damko, J.
Original Objects of Art Workmanship
Gold Medal
de Sikorski, T.
Silver Medal
Horti, Professor Paul
Bronze Medals
Betlen, Gyula Rappaport, O.
Kriesch, Aladar Tarjan, O.
Silver Medals
Szinyei-Merse
Zemp!£ny, T.
Bronze Medals
Mcndlik. O.
Reti, I.
Szenes, F.
GROUP XI
Sculpture
Gold Medals
Ligeti, M.
Silver Medals
Teles, E.
Bronze Medal
Vastigh, George
GROUP XIV
Ixiv
INTERNATIONAL SECTION
CEYLON
GROUP XII
Architecture
Commemorative Gold Medal and Diploma
Skinner, I - '., for his Design for the Ceylon Government Pavilion
GROUP XIV
Original Objects of Art Workmanship
Silver Medals
Arnolia, Nami Andris, Hami
Bronze Medal
Wimalaratne, D. D.
CHINA
GROUP XII
Architecture
Commemorative Gold Medal and Diploma
Atkinson & Dallas
For their Design for the Chinese Government Pavilion
GROUP XIV
Original Objects of Art Workmanship
Gold Medals
Chun Kwan Kee Shen Shao An Shoo Kee
Silver Medals
Shu Lien Chi Lee Chin Chin
DENMARK
GROUP XIV
Original Objects of Art Workmanship
Grand Prize
Engelhardt, V., Copenhagen
Silver Medals
Kahler, Herman Nielson, E.
Bronze Medals
lladen, Jacob Reistrup-Hansen (Collaborator)
NORWAY
GROUP XIV
Original Objects of Art Workmanship
Silver Medal
Munthe, Gerhard
lxv
ITALY
GROUP IX
Paintings and Drawings
Grand Prize
Mancini, Antonio
CapriLe, Vincenzo
Dali ’Oca Bianca, Angelo
De Karolis, Adolfo
F.sposito, Gaetano
Bazzaro, Leonardo
Casciaro, Giuseppe
Chini, Galileo
Ciardi, Gugiielmo
Ciardi, Giuseppe
Cipolla, Fa bio
Coromaldi, Umberto
De Francisco, Fietro
Fattori, Giovanni
Ferrari, Arturo
Gold Medals
Gola, Emilio
Innocenti, Camillo
Laurenti, Ce-are
Kizzi, Antonio
Silver Medals
Gioli, Luigi
Longoni, Emilio
Migliaro, Vincenzo
Morbelli, Angelo
Onvcgna, Filippo
Failizza. Giuseppe
Fetiti, Filibcrto
Sezanne, Augusto
Stoppoloni, A. G.
Tavernier, Andrea
Ronomelli, Romeo
Corelli, Augusto
Damolin, Oreste
Discovolo, Antonio
I'avai, Gennaro
l'ornara, Carlo
Bronze Medals
Ghiglia, Oscar
Ix>ri, Amedeo
Mucchi, Anton Maria
N’oci. Arturo
Fazzini, Norberto
Rava, Maurizio
Stragliati, Carlo
GROUP X
Etchings, Engravings and Lithographs
Viligiardi, Arturo
Bronze Medals
Vitalini, Francesco
Monteverde, Giulio
D’Orsi, Achille
Fontana, Carlo
GROUP XI
Sculpture
Grand Prizes
Romanelli, Raffaello
Gold Medals
Galetti, Stefano
Rivalta, Augusto
Rutelli, Mario
xvt
Cassi, Enrico
Laforet, Alessandro
La Spina, Michele
Renini, Mauro
Bescara, Cesare
Buemi, Salvatore
Silver Medals
Xicolini, tiiovanni
Origo, Clemente
I’ellini, Eugenio
Frini, Giovanni
Bronze Medals
De Albertis, Eduardo
Graziosi, Giuseppe
Marsih, Emilio
Sodini, Dante
GROUP XII
Architecture
Commemorative Gold Medal and Diploma
Sommaruga, Giuseppe, for his work upon the grounds of the
Exposition, and Distinguished Service in Art
Silver Medals
Collamarini, Edoardo Vihgiardi, Arturo
GROUP XIV
Original Objects of Art Workmanship
Silver Medal
Chini, Galileo.
Bronze Medal
Chini, Chino, Collaborator
Gajo, Massao
Itnao, Keinen
Araki, Jippo
Araki, Kwanpo
Data, Hoyei
Hiiai, Chokusui
Hirose, Toho
Ishii, Sodo
Kan da, Bunsho
JAPAN
GROUP IX
Paintings and Drawings
Grand Prize
Gaho, Mashimoto
Gold Medals
Ohashi, Suiseki
Watanabe, Seitei
Silver Medals
Kawabata, Giokusho
Kawamura. Giokuun
K obayashi, Gokio
Kochi, Gakei
Komiya, Madam Tokei
Kubota, Kinsen
Muramatsu, Ungai
XVII
Murase, Giokuden
Nomura, Bunkio
Ogata, Gekko
Sato, Shiyen
Atomi, Madam Giokushi
Kawai, Giokttdo
Mitsutani, Kunishiro
Morohoshi, Seisho
Takashima, Kokkai
Uyctla, Mansliu
Uyemura, Madam Shoyen
Vanvamoto, Shunkio
Bronze Medals
Otake, Cliikulia
Takahashi, Giokuycn
VVada, Ycisaka
Yoshida, Hiroshi
Kaneda, Kanejiro
Abe, Tnsai
Toyama, Chozo
Hombo, Gitaro
Ishii, Kihvoye
Murata, Kichigoro
GROUP XI
Sculpture
Gold Medals
Yamazaki, Choun
Silver Medals
Udagawa, Kazuo
Yakttshiji, Koun
Bronze Medals
Ornachi, Yeijiro
Suzuki, Chokichi
W'atanabe, Osao
GROUP XII
Architecture
Grand Prize
Hon. Hayato I'ouknba, for Iandsca|>c Architecture of Garden of
Japanese Government Pavilion
Gold Medal
Masamachi Kuru, for Design for Japanese Government Pavilion
Bronze Medals
Morita, Ichigoro Sasaki, Iwajiro
GROUP XIV
Original Objects of Art Workmanship
Grand Prizes
Kawashima, Jimbei Nanvikawa, Soauke
Miyagavva, Kozan < >kazakei, Sessei
Shirayatna, Shosai
Aikawa, Toyoo
Akatsuka, Zittoku
Fujiwara, Ihioye
Gold Medals
I'unabashi, Iwajiro
Hayasbi, Kuhioye
Hirano, Kichibei
Ixviii
lida, Shinliichi
I to, Tozan
Jomi, Yeisuke
Kagawa, Katsuhiro
Keida, Masataro
Kinkozan, Sobei
Kumagai, Naoyuki
Namikawa, Yasuyuki
Fujikawa, Shinzo
Hayashiya, Jisaburo
Ikcda, Sei&uke
I to, Sadabumi
Kawara, Taro
Mikami, Kosaburo
Mukai, Shigetaro
ITattori, Todasaburo
Kanamori, Ilichiro
Kanamori, Toliei
Nishimura, Jihioye
Nishimura, Sozayemon
Sliinia, Sahioye
Shoami, Katsuyoshi
Tsujimura, Shoka
Tsukada, Shukio
Uno, Jinmatsu
Yabu, Meizan
Yamada, Cbosaburo
Silver Medals
Nakamura, Sakujiro
Shiozaki, Rihei
Takito, Manjiro
Tanaka, Rihichi
Tanaka, Sadaliichi
Ts\ikamoto, Jitnbei
Yukio, Yukio
Bronze Medals
Matsubayashi, S.
Terabayashi, Katai
Yanagiwara, T.
MEXICO
GROUP IX
Paintings and Drawings
Gold Medal
Fabres, Antonio
Bronze Medal
Garcia, Jesus Coroniina
GROUP X
Etchings, Engravings and Lithographs
Bronze Medal
Fabres, Antonio
GROUP XI
Sculpture
Bronze Medal
Prieto, L.
xi\
PORTUGAL
GROUP IX
Paintings and Drawings
Commemorative Diploma and Grand Medal of Honor
For Distinguished Service in Art
H. R. M. the King of Portugal
Grand Prize
Coliunbano, Bardcllo Pinheito
Gold Medal
11. R. M. the King of Portugal
Silver Medals
II. R. M. the Queen of Portugal t'undeiva. r.rtie't" F.
Carneiro, Antonio T., Jr. Salgndo, J ■**«’• Velloso
Bronze Medals
Brito, Jos£ de Mello, David de
Niello, Arthur V. de Vaz, Joao
GROUP X
Etchings, Engravings and Lithographs
Bronze Medal
Lalletnant, Luciano
GROUP XI
Sculpture
Grand Prize
Texeira Lopez, Antonio
Bronze Medals
Simoes d’Almeida (Sobrinho),
RUSSIA
GROUP IX
Paintings and Drawings
Commemorative Diploma and Gold Medal of Honor
For Distinguished Service m Art
Repin, T. E.
Gold Medals
ShraarofT, p. D
Ivanoff, M. F.
Silver Medals
Deriiso/'f-Uralsky, A. K.
Makoushenko, T.
Djenyaeff. T. A
Pigoroff, N. P.
Eberling, A. R.
Rohricli, N. C.
Kahl. C. X.
Sitchoff, F. V.
Kardofsky, D. N.
Yladimiroff, I. A.
I.atree, N. P.
Zaroubin, V. T.
Bronze Medals
l’aklund, Klsa
Landan, Emilie
Bilit, J. S.
Petrovitcheff, P.
Feldman, K. A.
PopofiF, V. N.
Konkin, N. M.
Root, N. F.
Haush, A. F.
Schmidt, G. G.
Heller, P. T.
Shabo-unin, N. A.
IvanofF, N. T.
Svietlitsky, G. P.
Koudrinvtscff, A. Z.
Tseregotv, N. G.
GROUP X
Etchings, Engravings and Lithographs
Bronze Medals
Xydias, P. S.
GROUP XI
Sculpture
Gold Medal
Ginsburg, K. Y.
Silver Medal
Sinayoff- Bernstein
SWEDEN
GROUP IX
Paintings and Drawings
Grand Prize
Zorn, Anders L.
Commemorative Diplomas and Gold Medals of Honor
For Distinguished Service in Art
Larsson, Carl Borjesson, Johan
Cedarstrotn, Baron Gu^taf
xxi
Arborelius, Olof
Bergstrom, Alfred
Kallstenius, G. S. N.
Gold Medals
Liljefors, Bruno A.
Ostermam, Bernhard
Osterman, Emil
Ankarcrona, Gustaf
Belim, Vilhelm
Borgh, K. A
Iledberg, Erik
Silver Medals
llullgren, Carl Oscar
Johansson, Carl
I^irsson, Carl
Smith, Wilhelm
Wallen, Gustav Theodor
Almquist, Ester
Brate, Fanny
Genberg, Anton
Bronze Medals
N'ordgrcn. Anna
Ronquist Lottcn
Wahlstrom, Charlotte
GROUP X
Etchings, Engravings and Lithographs
Gold Medals
Larsson, Carl
GROUP XI
Sculpture
Gold Medals
Lundberg, Theodor Malmquist. Gustaf
Silver Medals
Edstrom, David Milks. Carl
Mi lies, Ruth
Bronze Medals
Blomberg, Stgrid Neujd, Herman
Sprinchorn, Gerds
GROUP XII
Commemorative Silver Medal and Diploma
For Work upon the Exposition Grounds
Bober g, Ferdinand) for Design of Swedish National Pavilion
Ixxii
SPECIAL COMMEMORATIVE AWARDS
APART FROM GROUP EXHIBITS
1 he International Jury of Awards expressed regret that the ex¬
hibits of France and Great Britain were not in competition.
The following awards in recognition of distinguished services in
connection with various national sections of the Department of Art
have been made:
ARGENTINE
Commemorative Diploma and Gold Medal
Schiaffino, Eduardo
AUSTRIA
Commemorative Diplomas and Gold Medals
Axentowicz, Professor Theodore Kotera, Professor Jan
Bernt, Architect Rudolf Urban, Architect Joseph
BELGIUM
Commemorative Diploma and Gold Medal
Verlant, Ernest
FRANCE
Commemorative Diploma and Grand Medal of Honor
For Distinguished Service in Art
Roujon, Henri
Commemorative Diploma and Gold Medal
Saglio, Andrt
GERMANY
Commemorative Diplomas and Gold Medals
Adam, Professor Julius Kreis, Professor Wilhelm
Janensch, Professor Gelir Marr, Professor Karl
Schaefer, Professor Max
GREAT BRITAIN
Commemorative Honors for Distinguished Services
In Connection with the British Exhibit
Sir Edward J. l’oynter, Chairman. Diploma
Isidore Spiclman, Honorary Secretary, Diploma
lxxiii
E. J. Gregory, Diploma and Gold Medal for installation of collection
Alfred Parsons, Diploma and Gold Medal for installation of collection
Walter Crane, Chairman for Arts and Crafts, Diploma
Edward S. Pryor, Honorary Secretary for Arts and Crafts, Diploma
Halsey Ricardo, Diploma and Gold Medal for installation of col
lection
HOLLAND
Commemorative Diplomas and Gold Medals
Comte, Adolf le Cnypers, Eduard
Martens, Willy
HUNGARY
Commemorative Diploma and Gold Medal
Horti, Professor Paul
ITALY
Commemorative Diplomas and Gold Medals
Apolloni, A. Pavia, Hon. Angelo
JAPAN
Commemorative Diplomas and Gold Medals
Xaohike, Masaki Keisuke, N'iwa
Shugio, 1 1 erorrach
RUSSIA
Commemorative Diploma and Gold Medal
Makofsky, V. E.
SWEDEN
Commemorative Diploma and Gold Medal
Schultzberg, Anshelm
UNITED STATES
Commemorative Awards
For Service in Connection with the Department "f Art
Halsey C. Ives, Diploma and Grand Prize
Charles M. Knrtz, Diploma and Gold Medal
George Julian Xolnay, Diploma and C,.«ld Medal
l rederick Allen W hiting. Diploma and Gold Mc''al
William II. Fox. Diploma and Silver Medal
Olive Whiting, llronze Medal
Commemorative Diploma and Gold Medal
To Harry W. Watrcnt*
For valuable assistance in the formation of the exhibit >t the
United States Section.
XXIV
The broad, simple painting of the figures, the sugges¬
tion of movement, the subtle touches of rapidly chang¬
ing lights and shadows mark the master hand of the
artist and contribute to an ensemble of satisfying
charm. (There are nine other pictures by Mr. Zorn
in this gallery, and there are two portraits by him in
Gallery I, and one portrait in Gallery 7, United States
Loan Exhibit. See Official Catalogue.)
FRANCE.
(UNITED STATES LOAN EXHIBIT.)
JEAN LOUIS ERNEST MEISSONIER 1815-1891).
Born at Lyons. 1815; died, 1891. Tn 1830, Meissonier
went to Paris and studied under Leon Cogniet. He
formed his remarkable technique, however, upon care¬
ful study of the old masters — particularly those of the
Dutch school. He was awarded medals at the Salon:
third-class, 1840; second-class, 1841; first-class, 1843
and 1850; medals of honor, 1855, 1867 and 1878. lie
received the cross of the Legion of Honor in 1846,
was made an officer of the Legion in 1856, a com¬
mander in 1867, and grand officer in 1878. Member of
the Institute, i86t. One of the founders and the first
president of the Societe Nationale des Beaux Arts.
No painter surpassed Meissonier in literal detail — not
even M etzu -and vet his brush-work, though exceed¬
ingly minute, is wonderfully broad and artistic. Meis¬
sonier was an assiduous student, constantly aiming for
perfection in representation.
The Smoker (Gallery 6). Lent by Miss Helen Miller
Gould, New York.
The figure of a tall man, with a long clay pipe in
his mouth, seated beside a table on which is a tall
pewter flagon, with a half-filled glass near it. The
man wears a red coat, black waistcoat and breeches,
and black slippers with silver buckles. The figure is
relieved against a wall of rich golden brown. Every
17
T. E. REPIN: PORTRAIT OP MRS. K.
detail of the work is painted with the utmost fidelity
to nature, with minute detail, yet, at the same time,
with breadth and simplicity.
RUSSIA.
T. E. REPIN, Saint Petersburg.
Member of the Imperial Academy of Arts and Pro¬
fessor of Painting at the High School of Arts attached
to the Imperial Academy, Saint Petersburg. Perhaps
the most noted portrait painter of Russia, and widely
known in other countries.
Portrait of Mrs. K. (Gallery 132).
Full-length, life-size portrait of a lady, with blue
eyes, light-brown hair and smiling expression, seated
in an arm-chair, facing the observer, but with eyes
turned toward the left. She wears a low-cut pink dress,
bordered with pale green and adorned with a profusion
of lace. She is in the act of pulling a white glove on
her left hand. Over her left shoulder and stretching
around over the right arm of the chair is a brown
feather boa. The chair is upholstered with figured blue
brocade. Behind the figure is a blue curtain; at the
right a strip of tapestry. The picture is painted with
great artistic skill. The attitude is easy and natural;
the tlesh is charmingly modeled, and the color is agree¬
able.
FRANCE.
JOSEPH BAIL, Paris.
Born at Limonest (Rhone), France. Pupil of his
father. Honorable mention. Salon, Paris, 1885; third-
class medal, 1886; second-class medal, 1887; silver
medal. Exposition Universelle, Paris, 1889; gold medal,
Exposition Universelle, 1900. Chevalier of the Legion
of Honor. First coming into prominence as a painter
of still life, with technique somewhat resembling that
of Vollon, M. Bail later essayed figure painting. For
TQ
Joseph bail: a lesson* in laci making
strength and color his work stands in the front rank
of contemporary French art expression.
A Lesson in Lace-Making (Gallery 113). Lent hy
Messrs. M. Knoedler & Co., New York.
Two young girls are seated at a table near a window
in a spacious apartment, intently engaged in working
out designs in lace. A young woman standing behind
the figure at the right is giving instruction. The voting
woman seated at the right wears a soft red blouse
waist, gray skirt and white apron; her companion is
in white, and each has an elaborate cap of bright colors.
The woman standing has a purple waist with white
kerchief over the shoulders, a gray skirt and elaborate
white linen cap. A brilliant figured green table cover
has been pushed into the center of the table, to make
way for the paraphernalia of the lace-work. The
figures of the young woman are of gentle type, and
are charming in their expression of interest. The
figures and the interior are painted in a manner at
once recalling Pieter de Hooghe and Van der Meer
of Delft, and with the beauty of color that one finds
in the works of Chardin. The gradations of the light
and shadow are expressed with a degree of subtlety
that is truly remarkable. In composition, in drawing,
in color, the work is full of distinction. It is one of
the most adequate and satisfying works in the French
exhibit.
IK )LLAXI).
JOSEF ISRAELS, The Hague, Holland.
In contemporary art there is no “school'’ of expres¬
sion more characteristic and pronounced than the Dutch
School, of which Josef Israels is one of the leading ex¬
ponents. Born in Groningen, in 1824, he studied at
Amsterdam, in the Academy, under Pieneman, and in
the studio of Kruseman; later, in Paris under Picot
and Henri Scheffer. Mis art reflects little of the
methods of his instructors; and while there is in it a
21
IMlr IHKACI.S: TIIf OI.P m kibi:
i
and Delacroix, in one direction, and in another Man¬
tegna, Angelico, Fillippo Lippi; then Rembrandt and
the great landscape painters contemporary witli him¬
self.” — Ilenlcy. In his earlier days, in Paris, Millet
painted mostly from the nude. His pictures then were
fine in color, but not of the seriousness of his later
works. In 1840 he left Paris for Barbizon, where lie
returned to the ideals of his youth, lived as a peasant,
and became the epic poet of rusticity. Here he knew
and worked along with Rousseau, Corot, Dupre and
Diaz. YV. F. Henley, who already has been quoted,
thus writes of .Millet: “Of most of his works the effect
is ethical, as well as plastic. They are not simply
works of art; they are, as it were, lay sermons in paint,
for they embody ideas which, not absolutely literary
in themselves, are to some extent susceptible of a lit¬
erary expression. Millet, in fact, was not less poet
than painter. The French peasant was his hero, the
romance of man in Nature his material. To his fellow
craftsmen his work must always present extraordinary
interest; for while his gift was immense and his ac¬
complishment in its way unrivalled, there have been
few whose study of reality has been more searching
and profound, and few the record of whose observa¬
tions is so charged with brain and so pregnant with
significance. But he did not work for his fellow-crafts¬
men alone. He has touched the scenes of that ‘epic
in the flat’ which was his legacy to time — with a
dignity, a solemn passion, a quality of fatefulness, a
sense of eternal issues, which left him in the neighbor¬
hood of Michel Angelo and Beethoven, and make his
achievement, like theirs, the possession of all man¬
kind.” Millet’s work is suggestive; it evokes thought
and reflection for its spiritual qualities, as well as ad¬
miration for its strength and its subtle, beautiful color.
Millet was given medals at the Salons of 1853, 1864
and 1867, Exposition Universelle, and the cross of the
Legion of Honor in 1868. In 1878 his memory was
25
umiis wtLM: tiii wisi men mm the e_\st
warm glow, contrasting strongly with the pale blue of
the moonlight and its shadows. The figures of the
travelers are full of devotional spirit, in contrast with
them are inhabitants of (he village who crowd about,
at the right, regarding the strangers with curiosity.
The composition is well-balanced and the work is fine
in color. (Another work by Wilda hangs in the same
Gallery. See Official Catalogue.)
UNITED STATES.
DWIGHT W. TRYON, New York.
Born m Hartford, Connecticut, 1849. Studied in
Paris, under Jacquesson de la Chevreuse, Charles F.
Daubigny and Antoine Guillemet. Opened a studio in
New York in i88j. He was awarded a gold medal at
Boston, 1882; gold medal at Competitive Prize Fund
Exhibition, New York, 1886; Second Hallgarten Prize
at National Academy, 1887; Webb Prize at the Society
of American Artists, 1889; Ellsworth Prize at the Chi¬
cago Art Institute, 1889; Potter Palmer Prize, Chicago
Interstate Exposition, 1889; medal of the first class,
Munich International Exposition, 1891; medal, World’s
Fair, Chicago, 1893; first prize at Cleveland Exposition,
1895; first prize at Nashville Centennial Exposition,
1896; First prize, gold medal and $1,500 at Carnegie In¬
stitute, 1898; gold medal, Pan-American Exposition,
1901. Member, National Academy, Society of American
Artists, and American Water Color Society.
Sunset (Gallery 32). Lent by Mrs. John T. Davis, St.
Louis.
Corot, Rousseau and Daubigny might have united
in painting this small landscape by Tryon — and still
there would have been something lacking. Mr. Tryon
in this work has suggested the three great Frenchmen,
but he has added a personal touch that belongs to none
of them. Painting in the most simple, direct and un¬
affected manner, the artist has come very close to the
soul of Nature in this picture—which is not so much
29
r. von I'iidi ; \ siwisi; in; in iioi.land
a representation as an interpretation. Under the glow¬
ing sky is a placid stretch of landscape extending to a
hillside in the middle distance, with the suggestion of
a habitation among the trees. A quiet pool in the fore¬
ground, undisturbed by a ripple, enhances the feeling
of restfulness which pervades the scene, and reflects the
glow of the exquisite sky. In richness and at the same
time tenderness of color, in vitality, in poetic feeling,
there is no more impressive work in the exhibition.
(Other works by Mr. Tryon are in this gallery and
Galleries 2i, 22 and 3T. See Official Catalogue.)
GERMANY.
(united states loan exhibit.)
FRIEDERICH HERMANN KARL VON UHDE,
Munich, Itavaria (Germany).
Born at Walkenburg, Saxony, 184R. Pupil of Mi-
haly de Munkacsy. Medal, Salon, Paris, 1885; Grand
Prix, Exposition Univcrselle, Paris, 1889. Medal,
World’s Fair, Chicago, 1803. Chevalier of the Legion
of Honor (1891) Associate of Societe Nationals des
Beaux Arts, Paris, and member of the “Secession,”
Munich.
A Sewing Bee in Holland (Gallery 1). Lent by the
Museum of Fine Arts, St. Louis.
An interior of a large Dutch house, with a group
of young women seated about a table in front of a large
window, sewing. An open doorway leads into an ad¬
joining room, in which a woman sits by a table. With
a single exception the women wear black dresses. The
woman across the table seen over the shoulder of the
principal figure in the foreground — is garbed in dull
yellow. All have white caps, and the woman at the
end of the table w r ears a blue apron, as does the figure
at the extreme left. On a small table, nearer the win¬
dow, are potted plants — geraniums and carnations in
bloom. Through the window, the gray-green foliage
31
J. UK TMIHINV THE FIRST Of OCTOBER; FAREWELL OF RECRUITS
in R in the picture, which is one of the most attractive
works of an artist whose productions are exceedingly
rare.
FRANCE.
(united states loan exhibit.)
JEAN BAPTISTE CAMILLE COROT 1796-1875).
Corot united in his art the best tendencies both of
the Romanticists and the Naturalists. The essentials
of classicism also were his—composition, selection,
treatment— the master qualities of style. His works are
suggestive, but they are complete. They are pervaded
by truth, but equally by poetry. They are the expres¬
sion of a soul in love with beauty—finding the spirit of
beauty in everything, and its greatest delight in record¬
ing the impressions of beauty upon itself. In Corot’s
painting there is “elegance, thrill and a hint of the un¬
seen.” It is a synthesis of Nature and Corot. Born
in Paris, in 1796, Corot, after a period of commercial
clerkship, studied art in opposition to the wishes of his
family. He was instructed first by Michallon, after¬
ward by Victor Berton. and spent several years in study
in Italy. At first unsuccessful, he lived to sec his works
enormously appreciate in value. He was awarded
medals in the Salons of 1838, 1848, 1855, and at the
F.xposition-Universelle, in 1867. He received the Cross
of the Legion of Honor in 1846, and was made an
Officer of the T.egion in 1867. He died in 1875. The
Diploma to Deceased Artists was inscribed to his
memory in 1878.
Evening — Antique Dance (Gallery 5). Lent by the
Estate of Jay Gould, New York.
The reputation of Corot and Daubigny safely might
be rested upon the works by each that are represented
in the United States Loan Exhibit. One of the most
noteworthy examples of Corot, and one of the most
important of his productions, is the picture illustrated.
In the foreground, under a spreading tree, several
39
JAKOB MAVIS I lilt RtVF.R
nymphs are dancing joyously, the upper portions of
their figures outlined against a sky in which crimson and
gold seem almost equally commingled. One of them
holds aloft a tambourine which she has been striking.
At the left, under another tree, two graceful figures are
standing, apparently about to join the dancers. Be¬
yond the foreground are marshes, with gleaming pools
reflecting the sky. There is a bit of distant hillside,
also, and one strains his eyes to make out details there¬
on. The scene is suggestive of Italy. The foreground
is suffused with color from the crimson sky, and,
though in shadow, the shadow is marvelously trans¬
parent. Here is the very spirit of evening, along with
the spirit of beauty; restful, satisfying, constantly ap¬
pealing to the observer, and never becoming exhausted.
(Another very important example of the work of Corot
hangs in this gallery, and there are other works by
him in Galleries i and 7. See Official Catalogue.)
HOLLAND.
JAKOB MARIS (Deceased).
Born at The Hague, 1837. Pupil of the Academy
and of Strobel and Van Hove, at The Hague; of I)e
Keyser and Van Lerius, at Antwerp, and of Hebert,
at Paris. Gold medal, Exposition Universclle, Paris,
1889; medal, World’s Columbian Exposition, Chicago,
1893. Died, 1899. He painted both figures and land¬
scapes, but his strong forte was landscape views along
the quays, river views, etc. He painted luminous mov¬
ing clouds in a most masterly manner. Rarely have
cloud effects been expressed on canvass with such truth
and spirit. His works, fine in color and tone, rank
among the masterpieces of our time.
The River (Gallery 33).
View looking across a Dutch river. Windmills and
low-lying buildings are seen under a sky filled with
heavy clouds — parted here and there, showing patches
41
JOHN W. ALEXANDER: PORTRAIT Or MRS. ALEXANDER
dignity and distinction in the graceful, natural pose,
and the simple scheme of refined harmonious coloring
is in character with the subject. In decorative quality
few works are so admirable as this. (Other examples
of Mr. Alexander’s work hang in Galleries 14 and 32.
See Official Catalogue.)
BELGIUM.
FRANZ COURTENS, Brussels.
A painter of light, of atmosphere, and of the sparkle
of sunshine. Born at Termonde, Belgium. Medal,
Salon, Paris, 1884; grand prix, Exposition Universellc,
Paris, 1889. Chevalier of the Legion of Honor, France.
Beneath the Beeches (Gallery 84).
An expanse of meadow with shepherdess and flock
of sheep under a tall tree with spreading branches. The
immediate foreground is in shadow, but middle-ground
and distance are Hooded with sunshine. The sky, filled
with white clouds, is brilliant with sunlight. The
technique is strong and simple, full of vitality, and full
of charm. (Another work of Mr. Courtens is shown
in Gallery 110. See Official Catalogue.)
UNITED STATES.
EDWIN LORD WEEKS (1849-1903).
Born, Boston, Massachusetts, 1849. Died in Paris,
1903. Pupil of l’Fcole des Beaux Arts and Gerome and
Bonnat, in Paris Honorable mention. Salon, Paris,
1884; medal. Salon, 1889; gold medal, Exposition-Uni-
verselle, Paris, 1889; gold medal, Art Club of Philadel¬
phia, 1891; diploma of honor, Berlin International Ex¬
position, 1891: special medal. London Exhibition, 1896;
first class medal, Dresden, 1897; first class medal,
Munich, 1897; silver medal, Pan-American Exposition,
Buffalo, T901. Chevalier of the Legion of Honor,
France; Officer of the Order of Saint Michael of Ba¬
varia; Member of the Paris Society of American Paint¬
ers; Corresponding Member of the Secession, Munich,
45
EDWIN LORD WEEKS: THE PORTER OF BAGDAD
etc. Was a Member of the Advisory Committee in
Paris tor the United States Section, Department of
Art, Louisiana Purchase Exposition. Noted for his
able writings and illustrations of India and Persia. Mr.
Weeks was a conscientious and able painter of much
refinement of feeling and with unusual skill in the rep¬
resentation of effects of sunlight and atmosphere.
The Porter of Bagdad (Gallery 18).
Across the open court of an Eastern palace with
a limpid pool in the center — about which several figures
are grouped -one looks out into a beautiful garden with
bright flowers and orange trees laden with fruit. The
pool reflects the colors of the garden and a bit of the
blue sky. The contrast between the cool purple-blue
reflected lights of the interior and the brilliant sunshine
outside is expressed with great skill. Two slightly
draped women in gauzy robes recline on the marble
pavement — one of them raising a wine cup in her hand
and the other reaching her right arm into the cool
water. A third voting woman, similarly clad, is about
to step into the pool. The “porter,” in a blue blouse
and blue cap, sits by the side of the pool, idly twirling
a flower in his fingers, while he gazes with admiration
upon the young women. The scene is where Amine,
Zobeide and Sufic are entertaining the porter in the
Arabian Nights tale. The values in the work are
well expressed and the coloring is subtle and most at¬
tractive. (Other pictures by Mr. Weeks hang in Gal¬
leries 16, 23 and 25. See Official Catalogue.)
UNITED STATES.
ROBERT W. VONNOH, New York.
Mr. Vonnoh, one of the foremost of American por¬
trait painters, was born at Hartford, Connecticut, in
1858. He studied under Boulanger and Lefebvre, Paris.
He was accorded honorable mention at the Salon,
Paris, 1889; bronze medal, Exposition-Universelle,
Paris, i88q; medal, World’s Columbian Exposition,
47
ROBERT W. VOVNOU: PORTRAIT OF MRS. VoNVOtl
Chicago, 1893; bronze medal, Exposition-Universelle,
Paris, 1900. Member of the Society of American Ar¬
tists; Associate of the National Academy; Member of
the International Jury of Awards, Louisiana Purchase
Exposition.
Portrait of Bessie Potter Vonnoh (Mrs. Robert W.
Vonnoh. Gallery 32).
The figure of a petite lady with dark hair and eyes,
clad in a loose flowing robe of rose-colored silk, stands
by a gilt settee covered with gray-green velvet, across
which is thrown a white gauze wrap. She wears a pale
red chrysanthemum in her hair. The pose is simple,
unaffected, but dignified; and the large mass of dark
background enhances the impressive effect of the beau¬
tifully painted figure. The color is most refined and
harmonious. (Mrs. Vonnoh is represented in the divis¬
ion of sculpture by some of the most charmingly ar¬
tistic works in the Exposition.) (Other works by Mr.
Vonnoh are in Galleries 3, 25 and 31. See Official
Catalogue.)
UNITED STATES.
HENRY O. TANNER, Paris, France.
Born at Pittsburg, Pennsylvania. Pupil of the Penn¬
sylvania Academy of Fine Arts, Philadelphia, under
Thomas Eakins; and of Jean Paul Laurens and Ben¬
jamin Constant, Paris. Plonorable mention, Salon,
Paris, 1896; third-class medal, 1897; Lippincott prize,
Pennsylvania Academy, 1900; Silver medal, Paris Ex¬
position, 1900; silver medal, Pan-American Exposition,
Buffalo, 1901. Member of the Paris American Art
Association, and the Society of American Painters,
Paris. Represented in the Gallery of the Luxembourg,
Paris; in the Pennsylvania Academy of Fine Arts, Car¬
negie Institute, etc.
Daniel in the Lion’s Den (Gallery 30).
The painting shows a large subterranean apartment,
dimly lighted by square openings in the roof, through
49
HENRY O. TANNER: DANIEL IN THE LION » DEN
the “Saint Genevieve,” in the Pantheon, and “Sum¬
mer’ and “Winter,” in the Hotel dc Villc, Paris; “Avc
Picardia Nutrix,” in the Museum at Amiens; “The
Arts and Nature,” in the Musee at Rouen; “Marseilles
as a Greek Colony,” in the Hotel de Ville at Marseilles,
etc., etc., and the notable decorations in the Public
Library at Boston, Mass. He received a second-class
medal at the Salon of 1861, a first-class medal in 1864,
and a medal of honor in 1882. He was given the cross
of the Legion of Honor in 1867, and was made an
officer of the Legion in 1877. One of the founders of
the Societe Nationale des Beaux Arts, he became presi¬
dent of the Society after the death of Meissonier (its
first president). The easel pictures of Puvis de Cha-
vannes are comparatively rare. They possess many
of the qualities to be found in his mural decorations;
are always refined in color, generally with a certain
sculpturesque treatment of the human figure, and a
leaning toward the classic in style. No other artist
has exerted so great an influence over modern mural
painting — or so great an influence for good — as did
Puvis-dc-Cha van lies.
Inspiration Chretienne (Gallery 7). Lent by Mr.
Chauncey J Blair, Chicago.
In the portico of a structure of Romanesque archi¬
tecture, several artists are assembled. One, in the garb
of a monastic order, holding a brush in his right hand,
and a palette in his left, contemplates with rapt atten¬
tion a mural painting upon which he has been work¬
ing. Others, standing near by, are studying the same
work, critically, but reverently. The paintings and
sculpture already completed show that Christian in¬
spiration which was the very life of art in its early
development in Italy. In his treatment of the theme,
the artist has conveyed an impression of seriousness,
dignity and the spirit of reverence with which art was
regarded during the period in question. As an ex¬
ample of decorative art, the picture is noteworthy.
There is a quiet and exquisite harmony in the gray
55
ftAi.PH cum clabkson: twilight hasmony
color scheme that is restful and soothing. The view,
through the arches, of the hillside, with its gray-green
poplars, the white walls beyond, and the narrow strip
of warm pink-tiled roof, the painting of the white-robed
angels in the arched panel at the right—with their
golden halos, and the bright blue background—the
touches of refined gray purples, blues, reds and
greens in the costumes—all combine to form a har¬
mony that impresses one like music; that holds one,
that satisfies, but does not satiate.
UNITED STATES.
RALPH ELMER CLARKSON, Chicago.
Born at Amesbury, Massachusetts, 1861. Studied
at the Boston School of Fine Arts, and in Paris under
Boulanger, Lefebvre, and Dannat. Member of the
New York Water Color Club, the Society of American
Artists, and the Chicago Society of Artists (president
of the latter); member of the Jury of Selection for
the United States section, Department of Art, and of
the International Jury of Awards, Louisiana Purchase
Exposition.
Twilight Harmony (Gallery 30).
Interior of a studio, in subdued tones of gray. A
tall young woman, in a gray-green costume, standing
plays the violin, while a young woman in black sits
at a piano, and a young man, seated on a sofa, plays
the violoncello. The picture is very low in tone, and
is exquisite in its refined, harmonious coloring.
UNITED STATES.
WILLIAM M. CHASE, New York.
Born at Franklin, Indiana, t8_|9. Pupil of B. F.
Hayes, Indianapolis: J. O. baton, in New York, and of
A. Wagner and Piloty, in Munich. Medal, Centennial
Exposition, Philadelphia, 1876; honorable mention,
Paris Salon, 1881; honorable mention, Munich, 1883;
57
wu.it.ui **. chmi: a rmxDLT call
Irutn a Copley Print. Copyrighted by Curtis & Cameron. Publisher*. Host on.
silver medal, Salon, Paris, 1889; first prize, Cleveland
Art Association, 1894; Shaw Prize ($1,500), Society of
American Artists, 1901; Temple gold medal, Pennsyl¬
vania Academy of the Fine Arts, 1901; gold medal, Pan-
American Exposition, Buffalo, 1901; gold medal,
Charleston Exposition, 1902. Member of the Interna¬
tional Jury of Award, World’s Columbian Exposition,
Chicago, 1893; Member of the Jury of Selection, United
States Section, Department of Art, Louisiana Purchase
Exposition, and of the International Jury of Awards;
Member of the National Academy, the Society of Amer¬
ican Artists, the American Water Color Society, and
Corresponding Member of the Secession, Munich.
A Friendly Call (Gallery T4). Lent by Mr. Samuel T.
Shaw, New York.
Two ladies — a brunette in a pale buff dress, and a
blonde in a white dress, white hat with purple flowers
and a white veil — seated in a handsome studio with
pictures, luxurious hangings, a large mirror reflecting
the opposite side of the room, and a long wall seat,
covered with gray-green plush and with a profusion of
silk and satin cushions of various colors. The prevail¬
ing colors in the picture are pink, green and pale
broken yellows. The textures are painted with wonder¬
fully suggestive realism. The work shows refined
artistic feeling, exquisite sense of harmonious coloring,
and masterly technique. For this picture the artist was
awarded the Shaw Fund ($1,500), at the Society of
American Artists, 1895. (Other examples of the work
of Mr. Chase are in Galleries 2, 14, 15, 20, 22 and 32.
See Official Catalogue.)
HOLLAXD.
BERNARDllS J. BLOMMERS, Scheveningen.
Born at The Hague, Holland, 1845. Pupil of the
Academy at The Hague. Awarded gold medals at The
Hague, Rotterdam, Amsterdam, Paris, Munich, Brus¬
sels and Antwerp; medal at the World’s Fair Chicago,
59
p» I. ■K»M\4Kf^: T»»r sxr.tL msiuhm \s
tune to avenge the poverty of his youth. He died in
1876. Diaz received medals from the Salons of 1844.
1846 and 1848; the Legion of Honor in 1851. The
Diploma to the Memory of Deceased Artists was in¬
scribed with his name in 1878.
Wood Interior (Gallery 5). Lent by Mr. Charles Par¬
sons, St. Louis.
In the heart of a dense forest, one looks into an
open space among the trees, in which sunlight pours
with brilliant effect, making the shadows appear even
more deep by contrast. Yet in this picture the shadows
are very transparent and full of reflected light. Promi¬
nent in the foreground is a tree with broken branches,
suggesting the effect of a recent storm. Through the
trees one has glimpses of further sunlit openings be¬
yond, and of mysterious shadows full of vaguely sug¬
gested detail. And over all is a luminous deep blue sky,
with white clouds reflecting the sunshine. In its splen¬
dor of rich color — in the sky, the foliage and the under¬
growth the picture thoroughly exemplifies the ex¬
uberance of the painter’s feeling; while as an interpre¬
tation of the spirit of a forest fastness, it is most
exceptional.
UNITED STATES.
ROBERT FREDERICK BLUM (1857-1903).
Born in Cincinnati, Ohio, 1857. Died, 1903. First
studied lithography, and later entered the School of
Design at Cincinnati; but he was mainly self-taught.
In 1889, he settled in New York and for a time devoted
himself principally to illustrating. At the Paris Expo¬
sition of 1889, he was awarded a bronze medal for
painting and a silver medal for his illustrations; bronze
medal also at the Paris Exposition of 1900, and gold
medal at the Pan-American Exposition, Buffalo, 1901.
He was a member of the National Academy, the So¬
ciety of American Artists, the American Water Color
Society, and the Society of Mural Painters. His most
6.3
ROBERT r. BLUM I THE LACE MAKERS
notable works, perhaps, are his decorations in Mendels¬
sohn Hall, New York City. Mr. Blum was not only
an exceptional draughtsman and gifted with unusual
taste in composition, but he had also keen discrimina¬
tion in the employment of color. In much of his work
there is a quality that at once recalls Fortuny. His
technique was free and while there was judicious re¬
serve in his expression, it was always adequate. He
thoroughly understood the resources and limitations of
the media in which he worked.
The Lace Makers (Gallery 16). Lent by the Cincinnati
Art Museum.
This is the picture for which the artist received a
medal at the Paris Exposition of 1889. It shows a large
apartment on the sunny side of a Venetian house, witli
groups of young women in front of two open windows,
holding large cylindrical pillows in their laps, upon
which they are working designs in thread. The faces
are full of cheerful animation. Some of the girls are
gossiping; others are intent upon their tasks. A green
Venetian blind keeps out the glare of the sunlight from
the nearer window, and the shaded interior with its
reflected lights is painted with wonderful truthfulness.
The general scheme of composition—in line, masses and
color is well devised and the technical treatment
throughout is masterly. (Other works by Mr. Blum
are in the Water Color Galleries. See Official Cata¬
logue.)
UNITED STATES.
HARRY CHASE (1853-1880).
Born in Woodstock, Vermont, 1853. Died 1889.
Studied under J. M. Stuart in St. Louis; at the National
Academy, in New York; at the Royal Academy and
under Bolonachi, in Munich; under Soycr in Paris, and,
finally, with Mesdag at The Hague. He opened a
studio in New York in 1881, and in 1885 was awarded
the Hallgarten Prize for his picture, “New York Har-
65
II Ml IT Y CM ASK! SHRIM PERN OFF YARMOUTH
Diploma to the Memory of Deceased Artists was in¬
scribed to him.
Morning on the Oise (Gallery 0 . Lent by Mr. E. Bur¬
gess Warren, Philadelphia.
The United States Loan Section contains three ex¬
ceptionally fine examples of Daubigny’s work, each dif¬
fering from the others in characteristic qualities — the
three, however, admirably illustrating the great va¬
riety, and the almost invariably high artistic quality of
the work of this artist. The p : cture shown in this il
lustration was painted in t 866 and was exhibited in the
Salon of that year, ft always has been considered one
of the painter’s most important productions. -Through
an expanse of full, rich green landscape the river flows
placidly, broadening as it approaches the foreground at
the right. On the farther side, the water reflects the
tree-bordered bank and hillside; along the nearer shore,
the sunlit clouds which move across the luminous blue
sky. — The sky is wonderful! -full of life and movement.
The painting of the foreground with its growth of weeds
and tall grasses--among which one discerns several
washerwomen on the river bank, giving touches of
color and animation the expanse of smooth meadow-
land beyond, and the groups of majestic trees — all
painted in a most masterly way — contribute to form a
picture which is almost an ideal of landscape painting.
UNITED STATES.
CECILIA BEAUX. New York-
Born at Philadelphia, Pennsylvania. Pupil of Wil¬
liam Sartain, Philadelphia, and of the Julian and Lazar
Schools in Paris. Awarded Mary Smith prize, Penn¬
sylvania Academy of the Fine Arts, Philadelphia, in
1885, 1887, 1891 and 1892; gold medal, Philadelphia Art
Club, 1893; Dodge Prize, National Academy, New York,
1893; bronze medal, Carnegie Institute, 1896; first class
gold medal and $1,500, Chicago Art Institute, 1899;
Temple Gold Medal, Pennsylvania Academy, 1900; gold
69
CECII IA BE\fX: THE PRtAVIlt
medal, Paris Exposition, igoo; gold medal, Pan-Ameri¬
can Exposition, Buffalo, 1901; Member of the National
Academy, New York; Society of American Artists, and
Associate of the Societe Nationale des Beaux Arts,
Paris.
The Dreamer (Gallery 18).
A young woman with brown eyes and dark red-
brown hair, in an armchair, leaning her head upon her
clasped hands against the back of the chair, gazes
toward the observer, but with an abstracted expression,
as though unconscious of any person near. She wears
a loose white dress with full sleeves, and with a black
velvet ribbon at the throat. Beyond the figure one
notes the furnishings of a handsome apartment, painted
in a slight, suggestive manner, so as in no way to de¬
tract from the importance of the figure. There is mas¬
terly technique in this work, analogous to that which
one finds in the best paintings by Sargent. (Other
examples of the work of Miss Beaux hang in Galleries
1 q and 22. See Official Catalogue.)
UNITED STATES.
GARI J. MELCHERS, Paris, France.
Perhaps no American painter resident abroad has
achieved greater distinction in recent years than Gari
J. Meichers. lie was born at Detroit, Michigan, in
i860; studied in Paris under Boulanger and Lcfebvre.
lie was accorded honorable mention at the Salon,
Paris, 1886; first-class medal, Amsterdam, 1887; third-
class medal. Salon. Paris, 1888; first-class medal, Mu¬
nich. 1888; grand prize. Exposition Universelle, Paris,
1889; first prize, \rt Institute, Chicago, 1891; medal
of honor, Berlin, 1891; gold medal, Philadelphia Art
Club, 1892; medal of honor, Antwerp, 1894; Temple
gold medal, Pennsylvania Academy of the Fine Arts,
Philadelphia, 1896; first-class medal, Vienna, 1898; gold
nu-dal, Pan-American Exposition, Buffalo, 1901. Mem¬
ber of the Paris Society of American Painters, of the
CAR! J. MELCHERS: PORTRAIT OP A YOUNO WOMAN
Societe Nationale des Beaux Arts, Paris, the Inter¬
national Society of Painters, Sculptors and Gravers,
London, and corresponding member of the Secession,
Munich; chevalier of the Legion of Honor, France,
and knight of the Order of Saint Michael, of Bavaria.
Portrait of a Young Woman (Gallery 18).
A young Dutch woman, seated, holds a small reli
gious book in her hand, presumably ready to go to
church. She wears a cream-colored dress with a green
figure, a pink-figured waist with short sleeves, showing
her plump forearms, and a white cap adorned with
pink wild roses. On the yellow wall, at the right,
hangs a blue faience receptacle for holy water, deco¬
rated with a sprig of green. The face is serious and
honest. The flesh is painted with firmness, yet with
tenderness; beautifully modeled and fine in color. The
composition, as a whole, is ^exceedingly decorative and
agreeable from the color standpoint.
• .>
ITALY.
ANTONIO MANC 1 NI , Rome.
Born at Narni, near Naples. In tlae latter city he
studied under Lista where he became a painter of
fruit and flower pictures — and, later, at the Fine Arts
Institute, where he had Piccini and Michetti as fellow
students. He painted portraits for a time, but was
unable to overcome his great poverty. Later it was
made possible for him to go to Paris, where he soon
obtained recognition. Mancini is a master-craftsman,
and his work is more appreciated by painters than by
the general public. He is concerned with color and
decorative effects more than either the imitation or
interpretation of Nature.
Portrait (Gallery 123). (See page following.)
The artist is portrayed, full length, seated on a
couch in his studio, with his palette and brushes held
in his left hand resting on his lap — and holding his
mahl-stick in his right hand his right elbow being
7.1
ANTONIO MANCINi: PORTRAIT
portrait painters of liis time. He was made a member
of the Royal Academy in 1867.
Portrait of Josef Joachim, the Violinist. Lent by Mr.
Charles L. Hutchinson, Chicago, Ill.
The distinguished violinist is represented, half-
length, life-size, in the act of playing. In his face is
a rapt expression, showing complete absorption. The
eye is unseeing; all the activity of the brain is con¬
centrated upon the theme which engages him. In
color the work is rather inclined to sombreness; but
it is rich in tone and fine in quality.
HUNGARY.
F. E. LASZLO, Buda-Pesth.
Born in Hungary, and one of the most noted Hun¬
garian portrait painters. He has portrayed many of
the prominent personages of his own country, and
spent some time as the guest of the late Queen Vic¬
toria, at the Isle of Wight, where he painted the royal
family. He also painted the late Pope Leo XIII.
Portrait of Prince Hohenlohe (Gallery T04). Loaned
by the Hungarian Government.
Half-length, life-size portrait of an elderly gentle¬
man, seated, seen almost in profile, facing to the left.
He has blue eyes, sparse white hair and mustache.
The face expresses high character and decision, and
is painted simply, but adequately.
UNITED STATES.
S. SEYMOUR THOMAS, Paris, France.
Born at San Augustine, Texas, 1868. Pupil of the
Art Students’ League and the National Academy, New
York, and of Jules Lefebvre and Benjamin Constant,
Paris. Honorable mention, Salon, Paris, 1895; bronze
medal, Exposition Universelle, Paris, 1900; gold medal,
Salon, Paris, 1901; bronze medal, Pan-American Ex¬
position, Buffalo, 1901; gold medal, Munich, 1901; gold
77
S. SEYMOUR THOMAS'. MRS. THOMAS
medal, Salon, Paris, 1904. Member of the Paris So¬
ciety of American Painters. Member of the Jury of
Selection for the United States Section of the Depart¬
ment of Art, Louisiana Purchase Exposition, and also
a member of the International Jury of Awards. Mr.
Thomas recently has devoted his attention chiefly to
portraiture. 11 is work is sympathetic, refined and thor¬
oughly artistic in character.
Portrait of Mrs. S. Seymour Thomas (Gallery 19).
Full length, life-size portrait of a lady, with her
light hand lightly resting upon the head of a large dog.
She wears a brown dress, brown hat with large brown
feather, and over her face a brown dotted veil. The
jacket, with broad lapels trimmed with brown fur, is
open, disclosing a figured yellow corsage. The pose of
the figure is unconstrained and natural. The technique
is simple and adequate. In color the composition is a
study in browns, with a touch of green in the hat as an
accent. (Other pictures by Mr. Thomas are in Gal¬
leries ii and 18. See Official Catalogue.)
UNITED STATES.
FRANK W. BENSON, Salem, Mass.
Horn at Salem, Massachusetts, 1862. Pupil of the
Boston Museum of Fine Arts, and of Boulanger and
Lefebvre, Paris. Awarded third Hallgarten Prize, Na¬
tional Academy, 1889; Clarke Prize, National Academy,
1891; medal. World's Columbian Exposition, 1893;
medal, the Mechanics’ Institute, Boston; Ellsworth *
Prize, Art Institute. Chicago; Cleveland Art Associa¬
tion Prize; Jordan Prizes, Boston ($500 in 1894 and
$300 in 1895); Boston Art Club Prizes ($100 in 1895
and $100 in 1896); Shaw Prize ($1,500), Society of
American Artists, 1896; Chronological medal, Carnegie
Institute, Pittsburg, 1896; silver medal, Carnegie Insti¬
tute, 1897; silver medal, Paris Exposition, 1900; silver
medal, Pan-American Exposition, Buffalo, 1901; Lippin-
cott Prize, Pennsylvania Academy of the Fine Arts,
79
FRANK \V. HENSON: THE SISTERS
EDUARDO S1V0RI: TO THE HuRtHUli
1903. Associate of the National Academy and member
of “The Ten” American Painters; Member of the Jury
of Selection for the United States Section of the De¬
partment of Art, Louisiana Purchase Exposition.
Sisters (Gallery 15). Lent by the Buffalo Fine Arts
Academy, Buffalo, New York.
Two little girls in a meadow near the seashore on a
breezy day in summer. The standing child, whose hat
has blown off, wears a white dress — which, seen mostly
in shadow, appears pale blue in color — and the little one
seated is in pink, with a white bonnet. Beyond, the
sea reflects a white sky near the shore, growing a
deeper blue near the horizon. The children are painted
with sympathetic feeling. The shadows in the faces
and dresses are wonderfully luminous. As an arrange¬
ment of refined and exquisite color the work is most
commendable. For this picture, the artist received
silver medals at the Paris Exposition of 1900, and the
Pan-American Exposition, Buffalo, New York, 1901.
(Other examples of Mr. Benson’s work hang in Gal¬
leries 2, 28 and 31. See Official Catalogue.)
ARGENTI \ E.
EDUARDO SIVORI, Buenos Ayres.
Mr. Sivori, the dean of the Argentine Artists, was
born at Buenos Ayres in 1847. He studied in Paris,
under Jean Paul Laurens, Raphael Collin and Hanoteau.
He was one of the founders of the Academy of Fine
Arts of Argentine, won the prize of the Department of
Public Instruction, and another from the Municipality
of Buenos Ayres. He is a member of the National
Commission of Fine Arts, and recently has been elected
president of the Academy of Fine Arts — in which he is
also a professor.
To the Homestead (Gallery 95).
In the foreground is a yoke of oxen, hitched to a
cart, tired out after a day’s work, wending their way
homeward along a road stretching through an expanse
81
EDMUND C. TARBELL: THE VENETIAN BLIND
Museum, 1900; three medals, Boston Charitable
Mechanics’ Association; bronze medal, Paris Exposi¬
tion, 1900; third prize, Carnegie Institute, 1901. Mem¬
ber of “The Ten” American painters. Instructor,
School of Drawing and Painting, Boston Museum.
The Venetian Blind (Gallery 15).
A young woman with dark-brown hair and with
back and shoulders uncovered, reclines on a sofa be¬
side a window with a Venetian blind, the slats of which
are so arranged that the glare of the sunshine is re¬
flected between them. The right arm is drawn across
the face, as if to shut out the dazzling light. The
lower portion of the body is enveloped in a purple
quilt. The light which illumines the back of the figure
evidently comes from a window at the right — not shown
in the composition while the shadows are full of re¬
flected lights. The problems of light are solved with
admirable skill. The work not only is effective, but it
is exceedingly artistic.
FRANCE.
(united states loan exhibit.)
THOMAS COUTURE (1815-1879).
Born at Senlis (Oise), 1815; died, 1879. Pupil of
Gros and of Paul Delaroche. Although he won the
second grand prix in 1837, and attracted attention by
several notable works within the next decade, it was
not until 1847 that he became celebrated as a great
painter by his “Romans of the Decadence” — “a picture
which in the united qualities of conception, composi¬
tion. drawing and color, has few if any equals in
modern art.” II is technical skill and great reputation
attracted to him many pupils, one of whom was the
American, William M. Hunt. He was selected by
Napoleon III to paint a ceiling for the Louvre, repre¬
senting the birth of the Prince Imperial, but differing
with the Empress concerning the drapery of the child,
he rejected the commission, became hostile to the gov-
85
tuoma* co«'Tt’«e: heap or a woman
FRANS HALS: THE SPVRIOHS COIN
hoy clinging close beside him, looks in the face of his
companion with sympathetic mirth. The foremost
figure of the composition wears a brown coat and an
old faded black slouch hat. The background is a rich
brown. One recognizes the broad manner characteris¬
tic of Hals, though here the idea of finish is carried
rather further than usual. It is a strong, impressive
picture, noteworthy for its splendid simplicity and fine
tone.
UNITED STATES.
JOHN SINGER SARGENT, London, England. (See
Biographical Note, Page 7.)
Portrait of James Whitcomb Riley (Gallery 2). Lent
by the John Tlerren Institute, Indianapolis, Indiana.
The subject is seen seated sideways in a chair, his
left arm resting on the chair-back, his right hand, hold¬
ing a newspaper, in his lap. The head is turned slightly
to the left, showing three-quarter face. The expression
of the face is thoughtful, as if the sitter were entirely
unconscious of the presence of the observer. As a
“likeness” of the poet, the work is admirable; as a
piece of artistic technique, it is masterly. (Other works
by Mr. Sargent are in Galleries f6 and 32. See Official
Catalogue.)
AUSTRIA.
JOSEF EDLER VON MEHOFFER, Cracow.
Born in Ropezyca, Austria. Studied at the Imperial
Royal Academy of Arts at Cracow, as a student of
Prof. Jan Matejko, and later was a pupil of l'Ecole des
Beaux Arts and of Leon Bonnat, Paris. He received
a gold medal at the Universal Exposition, Lemberg,
1894; first prize, International Competition for Glass
Window Painting for the Cathedral at Cracow, 1900;
gold medal, Exposition-Universelle, Paris, 1900, for
painting, and gold medal at the same Exposition for
glass-painting for the Cathedral at Fribourg. He is a
89
JOSEF EDI.ER VON MEHOFFER: A SJNCFR
faultless, his effect absolute in completeness.” “His
cattle have the heavy step, the philosophical indolence,
the calm resignation, the vagueness of look, which are
the characteristics of their kind.” “lie painted not
only the physical side of his beasts with marvelous
skill — their shining skins, their splendid color, their
superb motions, their steaming breath and gleaming
eyes but he painted their characters, their individuali¬
ties — what almost might be called their souls.” Troyon
was born at Sevres, France, in 1880. He began his
career as a decorator of china, in the national manu¬
factory at Sevres. At the same time, Diaz and Dupre
were fellow-workers in the factory, and later the t.hree
fell under the influence of Rousseau. He studied, later,
under Riocreux. He received medals at the Salons of
1838, 1840, 1846, 1848 and 1855; the cross of the Legion
of Honor in 1840. In the height of success, he died
in 1865. He was made a member of the Amsterdam
Academy, and was the recipient of other honors. The
Diploma to Deceased Artists was inscribed to his
memory in 1878.
Cows in Pasture (Gallery 7), Lent by Mr. and Mrs.
F. G. Logan, Chicago.
A black-and-white cow standing, a red-brown-and-
white cow lying, near a group of trees, are so strongly
modeled and so superbly painted that one is almost
induced to forget for a moment that he is not looking
upon living animals in a real landscape. They are in
the full light of the late afternoon sun, and the grada¬
tions of the light upon their sleek sides are expressed
most subtly and truthfully. The landscape is equally
artistic, and true to Nature- a broad expanse of rich
meadowland, with a long line of blue-green hills in
the distance. At the right, the cowherd, in blue
breeches and a white blouse, stands, facing from the
observer, regarding a goat which is disporting itself
by a log. A large black dog stands near, looking
toward the man. There are cattle in the middle dis¬
tance. The rich color and superb tone of this picture
93
m. r . iVANorr: harvesting wheat
of Prussia. From 1849 until the time of her death, she
was Director of the Paris Free School of Design for
Young Girls — of which she was the founder. She was
a member of the Societe des Artistes I'rangais, and of
the Antwerp Institute. Her painting, “Plowing in the
Nivernais,” was purchased in 1840 by the French gov¬
ernment for the Museum of the Luxembourg. Her
famous “Horse Fair' is in the Metropolitan Museum of
Art, New York, and a (smaller) replica of it is in the
National Gallery, London.
Cattle in the Highlands (Gallery 1). Lent by the St.
Louis Museum of Fine Arts.
This landscape probably was painted from the
French Pyrenees. Upon a rock-strewn upland is a herd
of cattle. Purple mountain peaks, with here and there
gleaming stretches of glacier, cut the sky-line along the
horizon. The careful drawing and vigorous yet de¬
tailed painting of the cattle, masses of rock and crimson
heather, are characteristic of the later and best period
of the work of the artist. (Another picture by Rosa
Bonheur hangs in Gallery 27. See Official Catalogue.)
UNITED STATES.
ROBERT SWAIN GIFFORD, New York.
Born on the Island of Naushon, Massachusetts.
Pupil of Albert von Beest, Rotterdam, Holland. Medal,
Centennial Exhibition, Philadelphia, 1876; prize of
$2,500 at a Competitive Prize Fund Exhibition, New
York, 1885; bronze medal, Paris Exposition, 1889; silver
medal, Pan-American, Buffalo, 1901; gold medal,
Charleston Exposition, 1902. Member of the Interna¬
tional Jury of Award, World’s Fair, Chicago, 1893.
Member of the Jury of Selection, United States Sec¬
tion, Department of Art, Louisiana Purchase Exposi¬
tion, and also of the International Jury of Awards.
Member of the National Academy, the Society of
American Artists, the American Water Color Society,
r. swain r.irroRP: after the rain
the Society of Landscape Painters, the American So¬
ciety of Etchers, and honorary member of the Royal
Society of Painter-Etchers, of London. Artist member
of the Harriman Exploring Expedition to Alaska, Si¬
beria and Behring Straits, 1889. Art Director of the
Cooper Union, New York City.
After the Rain (Gallery 2).
From a foreground hillside, the observer views a
broad expanse of country with a river lazily winding
through it, under a skv filled with moving clouds,
lightened by sunshine breaking out after a heavy
shower. A mass of trees at the right shows the chang¬
ing colors of the early autumn. Here and there in the
far distance occasional gleams of bright color show
where the sunshine has penetrated the clouds, and
there are glistening reflections of the sunlight from the
river. At the extreme left, under the darker clouds,
there is a suggestion of the continuation of the storm.
The generally sombre tone of the composition en¬
hances the value of the touches of sunlight, yet there
are no violent contrasts; the work is reserved, har¬
monious, and is a subtle and feeling interpretation.
GERMANY.
(united states loan ephibit.)
LUDWIG KNAUS, Germany.
Born at Weisbaden, 1829. He was a pupil of Jacobi,
and studied at the Diisseldorf Academy under Solin and
Schadow. He afterward studied in Paris. He visited
Italy, lived in Diisseldorf and in Berlin for some time,
and was Professor at the Berlin Academy from 1874 to
1884. Member of the Academies of Berlin, Vienna,
Munich, Amsterdam, Antwerp and Christiana, and
Knight of the Prussian Order of .Merit. He received
medals at Paris in 1853, 1855, 1857 and 1859; Cross of
the Legion of Honor, 1859; Officer of the Legion of
Honor, 1867; grand medal of honor, Expositioti-Univer-
107
I I'PVS ic knm n: the CHILD s party
selle, Paris, 1867; gold medal, Paris, 1882; Munich,
1883; medal of honor, Antwerp, 1885; great gold
medal, Berlin, 1886. Among modern painters of genre,
no artist has enjoyed a greater degree of popularity.
A Children’s Party, or The Cat’s Christening (Gallery
6). Lent by Miss Helen Miller Gould, New York.
A picture that is full of incident, the details of which
are admirably reproduced in the illustration. Each
distinctive group of children shows deep observation,
and every face is a careful study. There is material
for a dozen pictures in this work, yet its various parts
are in excellent relationship, and there is a fair degree
of unity in the composition. In gradations of lighting,
the work impresses one as truthful, and in color it is
well balanced.
This picture, painted in 1868, has enjoyed great
popularity since it was first shown. A variation upon
the same theme, evidently painted from some of the
same studies, hangs in gallery 55 of the German section.
(See Official Catalogue.)
UNITED STATES.
J. G. BROWN, New York.
Born at Durham, England, in 1831. Studied at New-
castle-on-dyne and at the Royal Scottish Academy,
Edinburgh; later at the schools of the National
Academy in New York. He was elected a member of
the National Academy in 1863, and was one of the
founders of the American Water Color Society in 1866.
For seventeen years he was president of the latter so¬
ciety. lie was accorded honorable mention at the Ex¬
position Universellc, Paris, 1889; silver medal, Me¬
chanics’ Instiute, Boston; bronze medal, California,
1894; silver medal, Pan-American Exposition, 1901.
Was a member of the International Jury of Award,
Chicago, 1803; member of the Jury of Selection for the
United States Section, Department of Art, Louisiana
Purchase Exposition. Mr. Brown’s portrayal of New
J. g. bkosvn: a yellow journal story
pio collivadi.no: the uot « or re>,t
York newsboys and bootblacks, as well as his character¬
istic representations of country and village types have
had great popularity.
A Yellow-Journal Story (Gallery 15).
Several bootblacks sit upon the boxes incident to
their profession, while one of their number reads a
sensational story from a daily paper. The expression
of interest in the youthful faces is well depicted.
(Other examples of .Mr. Brown’s work are in the same
gallery. See Official Catalogue.)
ARGENTINE.
PIO COLLIVADINO, Buenos Ayres.
Born in Buenos Ayres, 1869. He was pensioned by
the Government, and has studied painting in Rome,
under Cesar .Mariani. His works had great success at
the International Exposition at Venice. He has
achieved reputation also for his mural decorations and
his etchings.
The Hour of Rest (Gallery 95;.
At the noon hour, a numbei of workingmen—plas¬
terers have gathered in a courtyard, and are partaking
of their lunch. The types are Italian, and are well-
realized studies of expression. The details of the
picture are painted in a very realistic and effective
manner. (Two other pictures by Mr. Collivadino hang
in these galleries. See Official Catalogue.)
UNITED STATES.
HENRY S. BISB1NG, Paris, France.
Born at Philadelphia, Pennsylvania, 1849. Pupil of
the Pennsylvania Academy of the Fine Arts; the Royal
Academy of Munich; J. H. L. de Haas, in Brussels, and
Vuillefroy, in Paris. Medal, Salon, Paris, i8gr; Temple
gold medal, Pennsylvania Academy, 1892; medal,
World’s Fair, Chicago, 1893; silver medal, Exposition-
Gniverselle, Paris, 1900; bronze medal, Pan-American
Exposition, Buffalo, 1901. Chevalier of the Legion of
HENRY S. B1SBING: IN Till PASTURE. MORNING
ROBERT \\\ VAN BOSK FECK! FORFsT • K EONTAt X EEt.EU
Honor; Member of the Paris Society of American
Painters; Member of the Jury of Selection for the
United States Section, Department of Art, Louisiana
Purchase Exposition.
In Pasture: Morning (Gallery 15).
Under a bright, morning sky a flock of sheep in full
sunlight crop the fresh green grass in the foreground.
Beyond them is a hedge of herbage. A shepherd lean¬
ing on his staff and accompanied by his dog is at the
left. There is real “outdoor” feeling in the picture.
The color is bright, but in no respect crude. (Other
works by Mr. Bisbing arc in Galleries 26 and 31. See
Official Catalogue.)
UNITED STATES.
ROBERT W. VAN BOSKERCK, New York.
Born in New Jersey, in 1855. Pupil of R. Swain
Gifford, A. 11 . Wyant, and studied and painted several
years in Europe. Member of the Society of American
Artists and Associate of the National Academy, New
York. Represented in many important collections.
The Forest of Fontainebleu (Gallery 20).
In the midst of the dense forest, a roadway, strewn
with last year’s dead leaves, leads from the foreground
and is lost to view at a turn around a moss-covered
rock The immediate foreground is in deep, cool
shadow, while in the middle distance sunshine filters
through the branches with brilliant effect. (Other pic¬
tures by Mr. Van Boskerck are in Galleries 22 and 23.)
SWEDEN.
ANSHELM LEONARD SCHULTZBERG, Verms-
lands, Ramen, Sweden.
Born at Stockholm, Sweden, 1862. Honorable men¬
tion, Exposition Universelle, Paris, 1889; medal, third
class, Salon, Paris, 1891; medal, World’s Fair, Chicago,
189?; honorable mention, Barcelona, 1898. Knight of
ANSHE1.M L. bCHULTZBEBC SUNNY WIMU DAY
KU1IIOYF. HAYASHi: BEACH IN THE MOHNIVC
the Order of Gustavus Vasa. Art Commissioner for
Sweden lo the Louisiana Purchase Exposition, and
member of t lie International Jury of Awards.
A Sunny Winter Day (Gallery 42).
A country house in Sweden — a red house surrounded
by trees, with a tree-bordered road at the right, on a
bright day in winter. The ground is covered with snow
winch has blown into drifts in places. The snow is
painted very realistically— both under the soft rosy
glow of the sunshine and in the contrasting purple blue
shadows. (Other pictures by Mr. Schultzberg are in
this gallery, and in Gallery 43. See Official Catalogue).
JAPAN.
KUHIOYE HAYASHI, Tokio.
Born in Japan. One of the most noted lacquer
workers. Into his work he has introduced a new ma¬
terial—platinum powder instead of silver which gives
liner and more durable effects.
Landscape—The Beach at Sunrise, Lacquer Work
(Gallery 134).
The sky is represented by a warm, red gold; the
sea of a gold in which there is a lighter alloy, and
the foam has a light silvery quality. The swelling
wave in the forespace is admirably modeled.
UNITED STATES.
HOWARD RUSSELL BUTLER, New York.
Born in New York, 1X56. Pupil of Dagnan-Bouve-
ret, Roll and Gervex, Paris. Honorable mention, Salon,
Paris, 1886; Temple silver medal, Pennsylvania Acad¬
emy of the Line Arts, Philadelphia, 1888; medal, At¬
lanta Exposition, 1895; Silver medal, Pan-American Ex¬
position, 1901. Member of the National Academy,
Society of American Artists, New York Water Color
Club, New York Architectural League. President ot
HOWARD RUSSELL BUTLER! SI N RISE
A. T.
VAN IAER: BPONXVIILE MEADOW (>
FF HR I’AR Y
the American Fine. Arts Society since 1889. Member of
the Jury of Selection, United States Section, Depart¬
ment of Art, Louisiana Purchase Exposition.
Sunrise (Gallery 26).
An early morning effect at sea on a hazy day. A
glow of yellow light above the horizon seems gradu¬
ally extending into the upper sky, changing the ashen
clouds to rose color, and producing opalescent effects.
A ship is seen, phantom-like, in the mist which veils
the horizon and blurs the outlines of the waves. (A
portrait by Mr. Butler hangs in Gallery 20. See Official
Catalogue.)
UNITED STATES.
ALEXANDER T. VAN LAER, New York.
Born at Auburn, New York, 1857. Pupil of the Na¬
tional Academy of Design and of R. Swain Gifford,
New York: and of George Foggenbeek, in Holland.
Bronze medal, Charleston exposition, 1902. Associate
of the National Academy; Member of the Jury of Selec¬
tion for the United States Section, Department of Art,
Louisiana Purchase Exposition, and also Member of
the International Jury of Awards.
Bronxville Meadows, February (Gallery 26).
An expanse of meadowland, yellowish brown in
color, with patches of snow lingering here and there,
lies under a cold gray-green sky. In the distance are
tree-covered bills flecked with snow. There are nearer
trees with skeleton branches still retaining some dead
brown leaves. The spirit of the season is admirably
suggested. (Other pictures by Mr. Van Laer are in
Galleries 17 and 19. See Official Catalogue.)
UNITED STATES.
EDMUND H. WUERPEL, St. Louis.
Born in St. Louis, 1866. Pupil of the St. Louis
School of Line Arts, the Julian Academy and 1 ’Ecole
EDMUND H. Wl’ERPEL: IN THE HOLLOW
cles Beaux Arts, Paris, under W. A. Bouguereau, Tony
Robert Fleury, G. Perrier and Aman-Jean. Member
of the Paris-American Art Association and the Society
of Western Artists. Instructor in painting, St. Louis
School of Fine Arts. Member of the Jury of Selection
for the United States Section of the Department of
Art, Louisiana Purchase Exposition, and of the Inter¬
national Jury of Awards. Keenly sensitive to im¬
pressions and of a subtly poetic nature, Mr. Wuer-
pel involves in his work the feeling that has moved
him to the point of expression. His pictures are in¬
stinct with individuality, and nearly always are in¬
vested with a certain suggestive spiritual quality—a
something that Nature reveals to him, but withholds
irom those not en rapport with her.
In che Hollow (Gallery 30).
A hillside surmounted by a majestic grove of trees,
with a pool in the low-lying grass-grown foreground —
all beneath a luminous light gray-green sky, in which
the crescent moon appears. Two slender trees in the
tniddleground break across the rather formal line of
the foliage mass. This is the literal description. There
is an impressive dignity in the composition, and a satis¬
fying charm in the simple scheme of color—almost a
symphony in shades of green which may be felt far
better than described. (Other paintings by Mr. Wuer-
pel hang in Galleries 17, 23 and 32. See Official Cata¬
logue.)
CANADA. •
ROBERT HARRIS, Montreal.
Born in North Wales, but taken as a child to North
Charlottetown, Prince Edward Island, in 1856. Studied
painting without instruction for several years, then at¬
tended for a time the Slade School, in London, and
later studied under Bonnat in Paris. For some years
he devoted himself to subjects illustrative of Canadian
life, but latterly has turned his attention to portraiture.
HQ
Robert Harris: the countess of minto
He has been president of the Royal Canadian Academy
since 1893. He was awarded a medal at the World’s
Columbian Exposition, Chicago, 1893; honorable men¬
tion at the Exposition Universelle, Paris, 1900; gold
medal, Pan-American Exposition, Buffalo, 1901'. By
King Edward VII. he was created a Companion of
Saint Michel and Saint George, 1902.
The Countess of Minto (Gallery 99).
Three-quarter length, life-size portrait of a lady,
with brown eyes and dark brown hair, standing, with'
head turned slightly to the left. She wears a loose,
low-cut white robe, with a broad collar of many folds
of lace. Over her left arm hangs a soft blue scarf,
which, passing over her left shoulder, is caught in
her right hand. Beyond the figure is the suggestion
of a forest background.
IK JLLAND.
(united states loan ex n ihit. )
ANTON MAUVE (1838-1891).
One of the greatest of modern Dutch painters—
Anton Mauve was born at Zaandam, in 1838, and died
in i8or. He was a pupil of Pieter Frederich Van Os,
but early developed individual traits that constituted
him a figure in the landscape art of his country. His
paintings of Holland are interpretations of the spirit of
the country, lfis draughtmanship was sound, his tech
niqtte was simple and adequate, his color was his own _
and Holland's. He was a master in the representation
of atmospheric effects and his work was permeated
with poetic feeling. He painted animals with knowl¬
edge and affection understanding and sympathizing
with them. In certain of his works, Mauve suggests
Troyon; if not always so powerful a painter, he was
usually more sympathetic. He was a member of the
Dutch Society of Arts and Sciences, the Societe des
Aquarellistcs Beiges, and a Knight of the Order of
Leopold. He received medals at Philadelphia, Amster-
121
ANTON MAUVE: SHEEP ON THE DUNES
THEOPHILE T)E BOCK: ON THE PIE! D
dam, Vienna, Antwerp and Paris; and his works arc in
the museums at the Hague, Amsterdam, Rotterdam
and many of the most important collections of modern
pictures.
Sheep on the Dunes (Gallery i ). Lent by Mrs. Charles
M. Kurtz, New York.
In the middle-ground a shepherd drives his dock
to a narrow stream which finds its way among the
sparsely grass-grown hummocks of sandy soil. The
landscape stretches beyond to a far horizon, the line of
which is broken at intervals by clumps of trees. Over
all is a tender and very luminous sky. In quality and
in rich color, this is an exceptional example of the
artist’s work. (Other works by Mauve hang in this
same gallery. See Official Catalogue.)
I K )LLAXD.
THEOPHILE DE BOCK, Haarlem. Holland.
Born at Haarlem, 1851. Pupil of J. W. Van Borse-
len and J Weissenbruch. Awarded medals at Amster¬
dam, Munich, Berlin, Paris (Exposition Universelle,
1889), Chicago (World's Fair, 1893), and Barcelona
(1894).; Diploma of Honor at Ghent, and silver medal
at the Exposition Universelle, Paris, 1900. Chevalier
of the Order of Saint Michael of Bavaria.
On the Field (Gallery 33)
A broad field extends from the foreground with
patches of bare earth in which peasant women are
working. Along the right is a row of trees along a dike
across which the top of a house is seen. There is a
bright, luminous blue sky with light cumulus clouds.
UNITED STATES.
WILLIAM H. HOWE, New York.
Born at Ravenna, Ohio, 1844. Studied at the Royal
Academy, Diissclldorf, and later in Paris, under Otto
de Thorcn. Received honorable mention at the New
Orleans Exposition, 1885; honorable mention, Salon,
T 23
WILIIAM H. HOWE: THE VAGABONDS
Paris, 1886; gold medal, Salon, Paris, 1888; silver medal
Exposition Universelle, Paris, 1889; grand gold medal!
London, 1890; Temple gold medal, Pennsylvania
Academy of the Fine Arts, Philadelphia, 1890; gold
medal, Mechanics’ Institute, Boston, 1893; medal,
World's Fair, Chicago, 1893; grand gold medal, San
Francisco Mid-Winter Exposition, 1894; gold medal,
Atlanta Exposition, 1895; silver medal, Pan-American
Exposition, Buffalo, 1901. Officier de l’Academie.
Paris, 1895; Cross of the Legion of Honor, France,
1898. Member of the National Academy and the So¬
ciety of American Artists; Member of the International
Jury of Awards, Louisiana Purchase Exposition.
The Vagabonds (Gallery 15).
Si\ttal cattle under the leadership of a white bull
wander down a country road toward the observer. The
sunshine falls upon the animals from the left, while in
front they are in shadow, except as the latter is varied
by reflected light from the road. The animals and
landscape are equally well painted. The road is cut
into ruts by wagon wheels after a recent rain. There
is a grove at the extreme right. The sky is almost
covered with gray clouds. (Another picture by Mr.
Howe hangs on the east wall of this Gallery, and a
third hangs in Gallery 19. See Official Catalogue).
FRANCE.
LEON AUGUSTIN LHERMITTE, Paris, France.
One of the most individual painters of France to¬
day. Born at Mont Saint Pere (Aisne), France, in
1844, he became the pupil of Lecoq de Boisbaudran, and
made his debut at the Salon with charcoal drawings
reflecting the life of his native village. His most suc¬
cessful paintings have been portrayals of country life
and character, and the free, loose technique acquired in
the use of charcoal he has carried into his work in oil.
Lhermitte was the recipient of medals at the salons of
I2 5
M. DC Mt'NKACSY: A HUNGARIAN PEASANT
EDI'Alt DO SCH IAFFI NO : MARGOT
medals and decorations from almost every country in
the world, to which his fame extended, lie was en¬
nobled by the Emperor of Austria and King of Hun¬
gary. Many of his important works are owned in the
United States.
A Hungarian Peasant (Gallery 104).
A workingman, with dark eyes and disheveled hair,
with head bent forward, and chin resting upon his
hand in an attitude of reflection. Loosely thrown over
his shoulders is a dark blue overcoat, over a brown fur
waistcoat. He has full flowing white sleeves, and wears
an old brown slouched hat. Painted with directness
and simplicity; fine in color. (Two other works by
Munkacsy hang in this gallery. See Official Cata¬
logue.)
ARGEXTIXE.
EDUARDO SCHIAFFINO, Buenos Ayres.
Born in Buenos \yrcs, Argentine Republic, 1858.
Sent to Paris at the expense of his government to study
painting under I’tivis de Chavannes and Collin. At the
Paris Exposition of 18.89, he obtained a bronze medal
for his picture ■‘Repose.'’ He won the government
prize, as well as that of the Municipality of Buenos
Ayres. He was one of the founders of the Academy
of the Fine Arts, and in 1898 was appointed Director
of the National Museum of Art, for which he has ac¬
cumulated a very valuable collection. He is the Presi¬
dent of the National Commission of Fine Arts, and
Commissioner of Fine Arts for the Argentine Republic
to the Louisiana Purchase Exposition, as well as a
member of the International Jury of Awards. Mr.
Schiaffino also is an art critic and historian.
Margot (Gal' ry 95 Lent by the National Museum of
Fine Arts, Buenos Avres.
Head and bust ■ i an attractive young woman with
dark eves and dark brown hair, facing the observer
but with eyes turned toward the left. The flesh pamt-
129
ANDERS L. ZORN! PROFESSOR HAT SKY C
IVR8
j n g is excellent in texture, and the pearly-gray shadows
arc particularly well expressed. (Other pictures by
Mr. Scliiaffmo hang in this gallery, and Gallery 96.
See Official Catalogue.)
SWEDEN.
(UNITED STATKS LOAN EXHIBIT.)
ANDERS L. ZORN, Stockholm, Sweden. See bio¬
graphical note on page 15.)
Anders I . Zorn not only stands at the head of the
modern Swedish school of painting, but he is one of the
foremost figures in the art world at the present time —
as well known in France, Germany, Great Britain and
America as in Sweden.
Portrait of Professor Halsey C. Ives (Gallery 1). Lent
by Mrs. Ives, St. Louis.
No work by Mr. Zorn shows more keen study of
character or more efficient expression than this re¬
markable portrait. There is an impression of real
vitality in this figure. The flesh painting, in solidity,
texture and in gradations of light and shadow is ex¬
ceptionally fine even for Mr. Zorn. In color, in values
and in technique, as well as in expression, the work is
remarkable. In the most direct and simple manner,
with apparently the fewest possible strokes of the
brush, the artist has seemingly expressed all that could
he conveyed through the media at his command.
(There is other work by Mr. Zorn in this gallery, in
Gallery 7, and in Gallery 45. See Official Catalogue.)
UNITED STATES.
WILLIAM SERGEANT KENDALL, New York.
Born at Spuyten Duyvel, New York, 1869. Studied
at the Art Students' League, New York; under Thomas
Eakins, in Philadelphia; and in Paris, in 1 ’EcoIe des
Beaux Arts and under Luc Olivier Merson. He re¬
ceived honorable mention, Salon, Paris, 1891; medal,
World’s Columbian Exposition, Chicago, 1893; Lippin-
cott Prize, Pennsylvania Academy of the Fine Arts,
Philadelphia, 1894; bronze medal, Carnegie Institute,
1900; bronze medal, Exposition-Universelle, Paris, 1900;
silver medal and bronze medal for drawings, and honor¬
able mention for sculpture, Pan-American Exposition,
Buffalo, igor; Shaw Prize, Society of American Artists,
1901; and Shaw Fund Purchase, Society of American
Artists, 1903.
The End of the Day (Gallery 25).
A young mother holds in her lap a three-year-old
child, who is looking at a picture book with interested
expression. The mother has dark-brown hair and
wears a black, low-cut dress. She bends forward, rest¬
ing her face caressingly on the golden-brown hair of
the child. There is charming tenderness in the
mother’s face. The child has a tired look, as if sleep
might soon overtake her. For this picture the artist
received a medal at the Carnegie Institute at Pittsburg,
1900, and a silver medal at the Pan-American Exposi¬
tion, Buffalo, 1901. (Other pictures by Mr. Kendall
hang in Galleries 2 and 14. See Official Catalogue.)
UNITED STATES.
CHARLES C. CURRAN, New York.
Born at Hartford, Kentucky, i86r. Studied at the
School of Design, Cincinnati; Art Students’ League and
National Academy, New York; and under Benjamin
Constant and Doucet, Paris. Awarded Third and Sec¬
ond Hallgarten Prizes and the Clarke Prize at the
National Academy; Honorable Mention, Salon, Paris.
1889; medals. Atlanta Exposition; World’s Fair, Chi¬
cago, 1893; silver medal, Pan-American Exposition,
1901: Carnegie Prize, Society of American Artists, 1904.
Member of the National Academy, the Society of
American Artists, the American Water Color Society,
and the New York Water Color Club; was assistant
to the Director of Fine Arts, United States Commis-
133
as an important member of the group of painters in¬
cluded under the term “The Barbizon School.” Jacque
received medals at the Salons of 1851, 1861 and 1863,
for etching; and in 1861, 1863 and 1864 for painting. He
was given the Cross of the Legion of Honor in 1867.
He died in 1894. Many of Jacque’s most important pic¬
tures are owned in the United States.
On the Way to Pasture fGallcry 1). Lent by Mr. John
G. Johnson. Philadelphia.
From a half-ruined structure, suggestive of the re¬
mains of a chateau, which has been added to and con¬
verted into a sheepfold, a flock of sheep is emerging,
and is making its way up a dusty road leading from the
observer. A shepherd in a blue blouse leads them, and
a black shepherd dog guards the flank. Several
chickens are in the nearer rich green foreground.
Aside from the excellent drawing, modeling and realiza¬
tion of the sheep, and the impressive suggestion of the
movement of the flock, the splendid coloring of the
superbly luminous sky, the exceptionally fine grada¬
tions of the lights and shadows, and the effective ade¬
quacy of the color composition as a whole, must appeal
to every person of artistic instincts. This is not at all
the conventional Jacque; it is not the picture for the
collector of "characteristic examples,” but it is a picture
for artists for those who care for the accomplishment
first of all, and to whom all other facts are only data
of more or less collateral interest. (Another very im¬
portant work by Jacque hangs in this same gallery.
See Official Catalogue.)
UNITED STATES.
GEORGE W. MAYNARD, New York.
Born at Washington, D. C., 1843. Pupil of the
Royal Academy in Antwerp. Temple gold medal, Penn¬
sylvania Academy of the Fine Arts, 1884; medal, Prize
Fund Exhibition, New York, 1888; Evans prize, Amer¬
ican Water Color Society, 1889; medal as one of the
139
GEORGE W. MAYNARD: Sl*RF
designers of the World’s Columbian Exposition, Chi¬
cago, 1893; Shaw prize, Society of American
Artists, 1897; silver medal, Pan-American Expo¬
sition, Buffalo, iqox. Member of the International
Jury of Awards, World’s Columbian Exposition,
Chicago, J 893; member of the Jury of Selec¬
tion, United States Section, Department of Art,
Louisiana Purchase Exposition; member of the Na¬
tional Academy; Society of American Artists, American
Water Color Society, and Society of Mural Painters.
Surf (Gallery 13). Lent by Mr. Samuel T. Shaw, New
York.
In a turbulent, foaming sea, under a blue-gray sky
with light clouds, several mermaids are disporting
themselves. In their agile, graceful movements, they
might be said to typify the spirit of the surf. The
figures and the wave forms are well drawn, and the
flesh-color and the dull blue and white of the waves and
sky contribute to a composition beautiful in color.
(Another picture by Mr. Maynard hangs in this same
Gallery. See Official Catalogue.)
UNITED STATES.
LEONARD OCHTMAN, New York.
Born at Zonnemaire, Holland, 1854. Brought to
America in 1866. Studied engraving and mechanical
drawing and later devoted himself to landscape paint¬
ing. For a short while attended the Art Student’s
League, New York. He was awarded a landscape prize
at the Brooklyn Art Club, 1892; medal at World’s Fair,
Chicago, 1893; gold medal, Philadelphia Art Club,
1894; silver medal, Pan-American Exposition, Buffalo.
1901; silver medal, Charleston Exposition, 1902; Morgan
prize. Salmagundi Club, New York, 1902; Shaw prize,
Society of American Artists, 1902; Inness gold medal,
National Academy, 1903; Evans prize, Salmagundi
Club, 1903; Webb prize, Society of American Artists,
LEONARD OCTITMAN: FROSTY ACRES
W. ELMER SCHOFIELD: WINTER MORNING
TQ04- Mr. Ochtman is a member of the National
Academy, the Society of American Artists, The Amer¬
ican Water Color Society, the Society of Landscape
Painters, and the New York Water Color Club.
Frosty Acres (Gallery 32).
The effect is of early morning under a luminous gray
sky in which the rays of sunlight (coming from behind
the observer) are beginning to be felt. The brown-
greens of the vegetation are covered by a filmy deposit
of frost, and there is a haze in the atmosphere suffusing
the brown foliage of the trees in the middle-ground
and the wooded hills beyond. The work shows the
sensitive appreciation of the artist as well as rare
technical power in expression. (Other pictures by Mr.
Ochtman hang in Galleries 2, 10, 16, 30 and 32. See
Official Catalogue.)
UNITED STATES.
W. ELMER SCHOFIELD, Philadelphia, Pennsyl¬
vania.
Born in Philadelphia, 1867. Pupil of the Pennsyl¬
vania Academy of the Fine Arts, Philadelphia, and of
Bouguereau, Ferrier. Doueet and Aman-Jcan, Paris.
Honorable mention, Art Club, Philadelphia, 1898;
Webb prize, Society of American Artists, 1900; honor¬
able mention, Exposition Universeile, Paris, 1900; hon¬
orable mention, Carnegie Institute, 1900; first Hallgar-
ten prize, National Academy, 1901; Sesnan gold medal,
Pennsylvania Academy of the Fine Arts, 1903. Asso¬
ciate of the National Academy.
I
Winter Morning (Gallery 29).
The composition shows a hillside at the left, strewn
with masses of rock and with the hollows filled with
patches of snow, alternating with gray-brown grasses
and dead leaves. At the right is a stream at the bottom
of a narrow ravine, beyond which is a dense growth
of leafless trees. A gray sky is lighted by the rays
143
B. P. COLL' M BA NO: JOAO ROSA
of the morning' sun. The picture is painted broadly,
simply and with well-suggested realism. The white
snow, with the blue shadows of the tree trunks cross¬
ing it, is true to Nature.
PORTUGAL.
BORDALLO PINHEIRO COLUMBANO, Lisbon.
Born at Lisbon. Pupil of the School of Fine Arts,
Lisbon. Awarded gold medal. Exposition Universelle,
Paris, 1900; medal of honor, National Society of Fine
Arts, Lisbon, 1902; Chevalier of the Legion of Honor,
France, 1900. Member of the National Society of Fine
Arts, Lisbon.
Portrait of the Actor, Joao Rosa (Gallery 128).
Full-length, life-size portrait of a man with dark
hair and eyes and of impressive personality, standing,
holding a silk hat in his right hand and slightly sup¬
porting himself with a cane, which he holds, with a
pair of tan-colored gloves, in his left hand. He wears
a brown coat with a button decoration and a ribbon
from which hangs an eye-glass. The picture is painted
with strength and judicious reserve. It has qualities
which suggest the “zEsop” and “Menippus” of Velas¬
quez. (Other works by Columbano are hung in a group
with this. See Official Catalogue.)
UNITED STATES.
WILL H. LOW, New York.
Born at Albany, New York, 1853. Pupil of l'Ecole
des Beaux Arts, under Geroine, and of Carolus Duran.
Paris. Awarded silver medal, Paris Exposition, 1889;
medal, Worlds Columbian Exposition, Chicago, 1893;
Lotus Club I'und, National Academy, 1895; silver
medal, Pan-American Exposition, Buffalo, 1901. Mem¬
ber of the National Academy, of the Society of Amer¬
ican Artists and the New York Architectural League.
145
WILL H. LOW: thf spring
Has done noteworthy work in illustration, and many
important mural decorations. Designer of the diplo¬
mas for awards for World’s Columbian Exposition and
Louisiana Purchase Exposition. Member of the Jury
of Selection for the United States Section, Department
of Art, Louisiana Purchase Exposition, and also mem¬
ber of the International Jury of Awards.
The Spring (Gallery 3 2 ).
A very graceful, nude female at the edge of a rivulet,
bends to drink from a cup held in her right hand.
There is a vista of hillside immediately behind the
figure, with a mass of vines almost covering the face of
the rock, and relieving the luminous llesh with charm¬
ing effect. There are beautiful lines in the figure;
the flesh, with exquisite variations of light and shadow,
is painted with rare truthfulness to nature. Both in
conception and in expression, the work is full of re¬
fined sentiment (Other pictures by Mr. Low hang in
Galleries 3, 19, 20 and 23. See Official Catalogue).
UNITED STATES.
FRANK DUVENECK, Cincinnati, Ohio.
Born at Covington, Kentucky, 1848. Pupil of Prof.
Diez, in Munich, and later studied in Venice. Medal,
World’s Columbian Exposition, Chicago, 1893; honor¬
able mention, Salon, Paris, 1895; silver medal, Pan-
American Exposition, Buffalo, 1901. Member of the
Society of American Artists and the Society of Western
Artists; Instructor in the Cincinnati School of Fine
Arts. Member of the Jury of Selection for the United
States Section, Department of Art, and of the Inter¬
national Jury of Awards, Louisiana Purchase Exposi¬
tion.
The Yacht Harbor (Gallery 3). Lent by the Riddick
School, St. Louis.
In the foreground, on an expanse of blue water re¬
flecting a luminous sky, several yachts ride at anchor.
Beyond, along the gently rising shore, the scattered
147
■
GEORGE WFTHFRBEE* A SI MMER SEA
houses of a village are seen, half hidden among the
trees. The water is limpid, full of rippling movement,
and there is a feeling of atmosphere in the picture,
which is admirable in composition and charming in
color. (“A Portrait” by Adr. Duveneck hangs in Gal¬
lery 25. See Official Catalogue.)
UNITED STATES.
GEORGE WETHERBEE, T.ondon, England.
Born at Cincinnati, Ohio. Pupil of the Royal
Academy at Antwerp and the Royal Academy at Lon¬
don. Member of the Royal British Institute of Painters
in Oil, and of the Royal Institute of Painters in Water
Color, London.
A Summer Sea (Gallery t 6). Lent by Air. Charles Ad.
Kurtz, New York.
Under a rich opalescent sky in which touches of
purple, blue and green commingle in forming an un¬
usually luminous effect, is an expanse of deep purple-
blue sea broken by white wave crests showing bright
green on the under side. Out of a sandy beach in the
foreground juts a jagged ledge of red-brown rock
partly overgrown with seaweed. Standing in a shal¬
low pool left by an outflowing wave is the nude figure
of a graceful young woman with red-brown hair.
There is a naive unconsciousness in the pose that em¬
phasizes the impression of solitude that would be felt
were the figure absent. As a color composition and as
a work of refined sentiment, the picture is exceptional.
(Other pictures by Mr. Wetherbee hang in Galleries
14, 19 and 30. See Official Catalogue.)
UNITED STATES.
VAN DEERING PERRINE, New York.
Born, Garnett, Kansas, 1869. Pupil of the National
Academy, Cooper Union and William Al. Chase, New
York. Silver medal, Charleston Exposition, 1902. Air.
149
VAN PEERING PERRISEt AT MOONRISE
commander, 1882; grand officer, 1897; grand comman¬
der, 1900. Among contemporary portrait painters
few have accomplished such an amount of creditable
work, and very few have had such pronounced in¬
fluence.
Portrait of Madame Bonnat, Mother of the Artist,
(Gallery 118).
Portrait of an elderly lady with dark brown eyes
and silvery white hair, seated and looking directly
toward the observer. Her hands rest in her lap. She
wears a dress of black velvet and occupies a low blue
velvet chair. The wall behind the figure is purple-
brown. The face has a fine, kindly expression, and is
f painted with great strength and realistic effect. The
hands also are full of character. The picture well
conveys the impression that the artist guided his
brush with affection as well as with artistic ability.
UNITED STATES.
CHILDE HASSAM, New York.
Born at Boston, Massachusetts, 1859. Pupil of Bou¬
langer and Lefebvre, Paris. Bronze medal, Paris Ex¬
position, 1889; gold medal, Munich, 1892; medal Phila¬
delphia Art Club, 1892; medal, World’s Fair, Chicago,
1893; prize, Cleveland Art Association, 1893; Webb
prize, Society of American Artists, 1895; prize, Boston
Art Club, 1896: silver medal, Carnegie Institute, 1898;
Temple gold medal, Pennsylvania Academy of the Fine
Arts, 1899; silver medal, Paris Exposition, 1900; gold
medal, Pan-American Exposition, 1901. Associate of
the National Academymember of the American Water
Color Society; the ‘Ten American Painters,” the New
York Water Color Club, and associate member of the
Societe Nationalc des Beaux Arts, Paris, and of “the
Secession,” Munich. Germany.
Jn the Garden (Gallery 3).
Childc Hassam is one of the most prominent expo¬
nents in this country of what is known as “impression-
155
C1ill.DE I!ASS\M: IN THE CARDIN
ism.” Most of his Works are painted in a high key of
color, and are extremely decorative. This picture his
largest contribution — shows a young woman seated in
a rocking-chair, in a sandy path bordered by hydran¬
geas, looking out over the sea, under a blue sky with
masses of opalescent clouds. The figure is decked with
spots of sunshine contrasted with purple-blue shadows.
(hour other pictures by Mr. Massam hang in this gal¬
lery. See Official Catalogue.)
JAPAN.
HASHIMOTO GAHO, Tokio, Japan.
Was born in 1834, hi Yedo (now Tokio). From
seven years of age he was taught drawing and paint¬
ing. At thirteen he became a pupil of Kano Shosen
Utanobu. and this was the starting point of his career
as an artist. He studied here for ten years. The
school of Kano was so strict in its discipline and so
rigidly confined to traditional style that Gaho was
greatly hampered by its restraints. Moreover, soon
after entering the school he lost both his parents and
fell into deep poverty. After being four years a pupil
he became assistant to his master. At twenty-six years
of age he married and essayed following an independ¬
ent career, but success did not come. His wife was
afflicted with insanity, and to obtain subsistence the
artist was obliged to resort to manual labor of the
most humble character. In 1871, when the Imperial
Naval Academy was founded, it was considered neces¬
sary that instruction in drawing should be afforded the
students, and Gaho was recommended for the position
of instructor, and was duly appointed. This not only
provided for his necessities, but gave him some oppor¬
tunity for developing his artistic tastes. In 1885 Gaho
left the Naval Academy, and shortly afterwards was
appointed a member of the Investigating Bureau of
Drawing and Painting in the Department of Education.
Upon the foundation of the Tokio School of Art in 1889,
Gaho was appointed Master of Japanese Painting, and
157
If ASH IMOTO CAHO: A WOOD IN AUTUMN
about this time began producing those works which
have given him a foremost place among modern Jap¬
anese artists. In 1898 lie resigned from the Tokio
School and was made president of the Nippon Bijut-
suin a school which enjoys great success under his
direction. Gaho is one of the Imperial Court artists
of Japan, lie received a silver medal at the Paris Ex¬
position of 1900.
A Wood in Autumn (Gallery 130).
This picture, painted on a six-sheet screen, is in
light shades of delicate color. A sense of stillness is
the dominant note of the picture. The clear atmos¬
phere of the uplands, and the maples casting their
crimson shadows on the surface of the water, are
painted with skill and feeling. (Other pictures by
Hashimoto Gaho are in the same Gallery. See Official
Catalogue.)
HOLLAND.
HENDRIK WILLEM MESDAG, The Hague.
The dean of contemporary painters of the sea, Mes-
dag, like Israels, is one of the foremost figures in the
modern Dutch school of painting. lie was born in
Groningen, in 1831, and did not begin to paint until he
had passed his thirty-fifth year, when he studied for a
while under Roelofs and Alma-Tadema. Before this
he had engaged in banking and had accumulated a com¬
petence. At one time he was the financial agent of the
Dutch Government. Upon essaying the career of a
painter, his rise was rapid. He has received many
medals and awards; is an Officer of the Legion of
Honor; Commander of the Orders of Saint Michael of
Bavaria, Leopold of Belgium, the Dannebrog, of Den¬
mark, and of the Crown of Italy; Officer of the Order
of Nassau; Knight of the Order of the Lion of the
Netherlands, of the White I'alcon; Officier d’Academie;
member of the Societe Nationale des Beaux Arts of
France; Royal Commissioner of Fine Arts for the
159
M. w. mksdag: A STORMY day
Netherlands, at the Expositions at Chicago, 18935 Paris,
1900; and Saint Louis, 1904. He is represented in nu¬
merous American collections.
A Stormy Day (Gallery 33).
A turbulent sea under a blue sky filled with rapidly
moving clouds. The sun, hidden by a mass of heavy
clouds in the middle-distance, illumines the lower
clouds near the horizon and causes the distant waves to
sparkle. Mesdag understands the sea, knows the sky,
and all the moods and aspects of both. He is a painter
not only of observation and power of expression, but
of sentiment as well. (Other paintings by Mr. Mesdag
hang in Galleries 34 and 59. See Official Catalogue.)
UNITED STATES.
HUGH H. BRECKENRIDGE, Fort Washington,
Pennsylvania.
Born at Leesburg, Virginia, 1870. Pupil of the Penn¬
sylvania Academy of the Fine Arts, Philadelphia, and
of Doucet, Ferrier and Bougereau, in Paris. Was
awarded the first Toppan prize at the Pennsylvania
Academy; medal, \tlanta Exposition, 1895; honorable
mention, Exposition Universelle, Paris, 1900; bronze
medal, Pan-American Exposition, Buffalo, 1901; second
Corcoran prize, Washington, D. C., 1903. Member of
the Jury for the Pan-American Exposition; member of
the Jury of Selection for the United States Section of
the Department of Art, Louisiana Purchase Exposition,
and member of the International Jury of Awards;
member of the New York Water Color Club, and of
the Philadelphia Water Color Club. Instructor in the
Pennsylvania Academy of the Fine Arts.
Lantern Glow (Pastel) (Gallery 10).
The nude figure of a graceful young woman seated
on a bench over which has been thrown a mass of white
drapery, is seen under the effect of the low-toned light
of early evening, contrasted with the orange glow of
161
MUCH H. BRKC KENK2DGE: LAHTI** CLOW
..FORCE C. MI>: Tin MINIATURE
Grover), demanding the surrender of about 7,000 In¬
dian warriors of the Cheyenne, Arapahoe, Kiowa and
Comanche Tribes.
General Custer is seen with his arm extended; on
his right is Interpreter and Scout Grover. Mounted on
a gray horse is Colonel Crosby, Adjutant-General of
the Expedition; on his right is Lieutenant-Colonel Tom
Custer. The independent chiefs, from right to left, are
Satana, Kicking Bird, Lone Wolf and Little Heart.
General Sheridan is mounted on the right in the pic¬
ture, in advance of the Seventh Cavalry. Moving up.
where the dust is rising, are the reserves, all ready to
attack should the demand for surrender be refused.
On the left of the picture are the Indian warriors; and
in the distance, where the dust is seen, are their fami¬
lies, herds and pack animals hurrying from the troops.
The messenger sent by General llazen from Fort Cobb
is seen coming up with a white flag; he bears dispatches
from the Indian Bureau, trying to prevent Sheridan
from attacking and punishing these Indians for their
depredations and atrocities on the frontier. The final
result of the campaign was the surrender of all hostile
Indians in the Southwest, numbering over 20,000. The
picture is carefully studied, and painted with literal de¬
tail and with excellent outdoor effect.
UNITED STATES.
WALTER McEWEN, Paris, France.
Born at Chicago, Illinois, i860. Pupil of Cormon
and of Robert-Fleury, Paris. Honorable mention,
Salon, Paris. 1886; silver medal, Exposition Universelle,
Paris, i88q; first class gold medal, Berlin, 1891; medal,
World’s Columbian Exposition, Chicago, 1893; medal
of honor, Antwerp, 1894; second class medal, Munich,
1897; silver medal, Exposition Universelle, Paris, 1900;
first class gold medal, Munich, 1901; Lippincott Prize,
Pennsylvania Academy of the Fine Arts, 1902; Harris
Prize, Chicago, 1902; Member of the Paris Society of
HALIER MC l»».N: A CkMI Of CHESS
A. B. SEWELL. MBS. WAITER RUSSELL
American Artists, and Associate ot the National
Academy. Chevalier of the Legion of Honor; Mem¬
ber of the Paris Jury of Selection for the United States
Section, Department of Art, Louisiana Purchase Ex¬
position.
The Chess Players (Gallery 32).
Two young women seated at a table near a window
are enjoying a game of chess. The figure nearer the ob¬
server and facing from him has red-brown hair, wears
a white satin dress with short sleeves, and is in the act
of moving one of the pieces on the board. Her com¬
panion, with blue eyes and brown hair and wearing a
salmon-colored dress, faces her, and with her head rest¬
ing upon clasped hands, watches intently, as if trying
to fathom the intention of the impending move. The
first figure, with the back in shadow, and only a touch
of light on the side of the face, and the second, entirely
in shadow, with soft light coming through the window
behind her, are both painted with subtle and charming
effect. (Other pictures by Mr. McEwen are in Gal¬
leries 4, 19 and 31. See Official Catalogue.)
UNITED STATES.
AMANDA BREWSTER SEWELL (Mrs. Robert Van
Vorst Sewell), New York.
Born in Essex County, New York. Pupil of Tony
Robert-Fleury and Carolus Duran, Paris; and of Will¬
iam M. Chase, New York. Was awarded the Dodge
Prize, National Academy, 1888; bronze medal, Pan-
American Exposition, Buffalo, 1901; silver medal,
Charleston Exposition, 1902; Clarke Prize, National
Academy, 1903. Associate of the National Academy.
Portrait of Mrs. Walter Russell (Gallery 2).
Half-length portrait of a young lady, with blue eyes
and light brown hair, facing the observer. In her
hands is a yellow rose, which she is fastening in a
loose shawl of soft gray colorings, lightly thrown over
J.PCIUS W. HITCHCOCK: A KaHE I.V THE CASCALTT LIST
her bare shoulders. A tapestry background of sugges¬
tive landscape, with the dark green foliage of a tree
as a foil for the head, by contrast enchances the deli¬
cacy and purity of the flesh—which is painted with ex¬
ceptional refinement. (Other paintings by Mrs. Sewell
are in this gallery, and Gallery 16. See Official Cata¬
logue.)
UNITED STATES.
LUCIUS W. HITCHCOCK, Buffalo, New York.
Born at West. Williamsfield, Ohio, i8f>8. Pupil of
the Art Student's League, New York; and of Lebfevre,
Benjamin Constant, Jean Paul Laurens, and the Cola-
rossi Academy, Paris. Honorable mention, Pan-Amer¬
ican Exposition, Buffalo, 1901.
A Name in the Casualty List (Gallery 15).
An old man seated in an arm-chair, and who has
been reading the newspaper now lying on the floor at
his feet, has been suddenly shocked by seeing the name
of one very dear to him in the “casualty list.’’ In¬
stinctively he ho*ds his hand before his eyes, as if to
shut out the sight that is pictured in his mind. Evi¬
dently he has cried out, for his wife and daughter have
hastened to him, though they have not yet learned the
news, as their expressions only indicate startled solici¬
tude. The picture is rather sombre in tone, befitting
the subject. It is painted broadly, with suggestive
realism.
UNITED STATES.
JULIUS L. STEWART, Paris, Erance.
Born in Philadelphia, Pennsylvania, 1855. Pupil of
J. L. Geromc and R. de Madrazo, Paris. Honorable
mention, Salon, Paris, 1885; medal. 1890; gold medals,
Berlin, 1891 and 1895; Munich, 1897; grand gold medal,
Munich, 1901. Member of the Societe Nationale des
Beaux Arts, Paris, and of the Paris Society of American
Painters. Knight of the Order of Leopold of Belgium;
169
JULIUS L. ST* WART: GRAND MATIN
Officer of the Legion of Honor; member of the Jury of
Selection in Paris for the United States Section, De¬
partment of Art, Louisiana Purchase Exposition.
Grand Matin (Nude Figure) (Gallery 19).
1 he mule figure of a beautifully proportioned young
woman leaning against a tree trunk, in the depths of a
dense forest, penetrated, here and there, by sparkles of
sunshine filtering through the leaves. The figure is in
cooi shadow—in part slightly tinged with green in the
reflected lights except where a few touches of brilliant
sunlight on the flesh enhance the delicacy of its pearly
grays by contrast. In the painting of the flesh, the
sheen of sunlight on the leaves, the translucence of the
leaves between the observer and the sun, and in the
charming unity maintained in the composition, the
artist has achieved signal success. (Other pictures by
Mr. Stewart are in this Gallery and Galleries 15 and 30.)
UNITED STATES.
HENRY R. POORE, Orange, New Jersey.
Born at Newark, New Jersey, 1859. Pupil of the
Pennsylvania Academy of the Fine Arts and of Peter
Moran, Philadelphia; of the National Academy, New
York, and of Luminais and Bouguereau, in Paris.
Awarded a prize of $2,000 at a Competitive Prize Fund
Exhibition held in New York, 1886; second Hallgarten
Prize. National Academy, New York, 1888; bronze
medal, Pan-American Exposition, Buffalo, 190T. Asso¬
ciate of the National Academy; Member of the Art
Club and of the Sketch Club, Philadelphia.
A Frosty Morning (Gallery 23).
Mr. Poore has essayed a daring feat in painting the
sun even through a dense haze- but he has succeeded
admirably. The shining disk does not dazzle the eyes,
vet it is the source from which emanates the light
illuminating the sky and the rolling landscape. Rarely
has a more luminous sky been expressed on canvass
In the foreground of the picture, where the effect of
sosuke namik.wva: wild ducks and keeps
HENRY R. POORE'. A FROSTY MORNING
the frost gradually is dissipating under the sun’s rays,
two farm hands with a yoke of oxen are moving a
large mass of stone. The breath of the toiling animals
comes like puffs of steam. The details of landscape and
trees are seen only faintly through the haze. (Other
pictures by Mr. Poore hang in Galleries 19 and 31. See
Official Catalogue.)
JAPAN.
SOSUKE NAMIKAWA, Tokio.
Born in Japan. One of the Imperial Court artists
and the inventor of the famous wireless cloissonne
enamels. His works are held in the highest esteem by
the most cultivated amateurs of Japan and other coun¬
tries. Wherever his work has been exhibited it has
been accorded the highest honors.
Reeds and Wild Ducks, Wireless Cloissonne (Gallery
133 )-
On an exquisite gray surface water reflecting the
color of an early morning sky- are two wild ducks
among the tall weeds. One of them, with wings ex¬
tended, is in the act of rising from the water, which
is beaten into foam with the effort. The ducks are in
true natural color and are represented in the most
remarkably artistic manner.
FRANCE.
JULES CHARLES CAZTN (1841-1901).
Born at Sarners (Pas-de-Calais), France, 1841; died,
190J. Pupil of Lecoq dc lloisbaudran, and later studied
painting in England. From London, in 1876, he sent
his first contribution to the Salon. He received a medal
of the first class in 1880, and was a member of the
Jury of Awards at the Expositions Univcrsclle, 1889
and 1900. He received the cross of the Legion of
Honor in iSX_>, and was made an officer of the Legion
in 1880. At the time of his death he was vice-president
173
j. c. r aii w : roadmdi; harvest
of the Societe Nationale ties Beaux Arts. Cazin, while
not occupying the high place of Corot, Rousseau and
Daubigny, was nevertheless one of the prominent
figures in the French landscape art of the nineteenth
century. His work was distinctively individual, and
was almost invariably pleasing in color. As a painter
he had great influence. His pictures have greatly in¬
creased in appreciation and value during recent years.
Roadside; Harvest (Gallery i). Loaned by Mr. Ed¬
ward Mallinckrodt, St. Louis.
This is a thoroughly representative example of the
artist’s work at the period when his powers were in
their maturity. The view is of a characteristic French
farm, with its various buildings grouped together with¬
out formal arrangement, the dark or bright red tiled
roofs making effective accents of color among the
trees. The sky is filled with soft, warm, gray clouds—
the sky that, when we see it in Nature, we speak of
as “a Cazin sky.” The foreground is a grain-field
under cloud shadow, in which a woman in a white
blouse and blue skirt is piling up the sheaves. The
middle-ground is in sunlight not a strong, violent
glare, but rather the light retlected from a sunlit cloud.
In this, as in most of Cazin’s pictures, there is great
charm in the free, loose handling, and in the soft,
harmonious color.
UNITED STATES.
F. K. M. REHN, New York.
Born at Philadelphia, Pennsylvania, 1848. Pupil ot
the Pennsylvania Academy of the Fine Arts and
Christian Schussele, Medal. St. Louis Exposition,
1882; M ater Color Prize, New York, 1885; gold medal
at a Competitive Prize Fund Exhibition, New York,
1886; honorable mention, Paris Exposition, 1900;
bronze medal, Pan-American Exposition, Buffalo, 1901;
silver medal, Charleston Exposition, 1902. Member of
175
PRl NO I.ILJEFOKS: EAGLE AND HARE
F. K M. REJIN: ROUNDING EASTERN POINT
awarded medals at the Salons of 1865, r868, 1870; medal
of the lirst-class at the Exposition Universelle of J878;
medal of honor, 1886; grand prix, Exposition Univer-
selle, 18S9. lie received the cross of the Legion of
Honor in 1870, was made an officer of the Legion in
1878, and commander in 1895. Member of the Insti¬
tute, 1891. lie became a member of the Academic des
Beaux Arts, succeeding Delaunay, in 1891. His work
is characterized by great refinement, both in drawing
and color.
Sorrow of Mary Magdalene (Gallery 118).
Kneeling at the foot of the cross, her hands touch¬
ing the feet of the Crucified, is the figure of the Mag¬
dalen -a young woman of fair complexion and long
flowing red-brown hair, with eyes upturned toward
the face of the Saviour not seen in the picture. She
wears a black robe with a purple sash about the waist.
The sky is clouded, but there is a rift at the upper
portion in the left, showing a patch of deep blue and
a bit of cloud in sunlight. From this comes the light
which illumines the figure and a portion of the cross.
Beyond the figure, dimly outlined in the gloom, one
discerns details of landscape with trees and distant
buildings.
MEXICO.
ANTONIO FABRES, Mexico City. Mexico.
Born at Barcelona, Spain, 1854. Pupil of the Na¬
tional Academy of Fine Arts, Barcelona. In 1875 was
sent to Rome at the expense of the government t<> pur¬
sue his art studies. Was awarded second-class medal at
the London International Exposition, Crystal Palace,
1884; second-class medal. National Exposition. Madrid,
1887: gold medal, International Exposition, Vienna,
1888; gold medal, International Exposition, Munich,
1888; medal at Exposition, at Barcelona, 1888; first-class
medal and Cross of the Sultan, Tunis, 1897; grand
prize. Exposition at Lyons, France, 1901. He is an
honorary member of the Association of Water-Color
I/O
ANTONIO FABRF.S: THE FEMAl.E THIEF
Painters of Rome, the Sociedad de Artes Decorativas,
Barcelona, Spain, Centro Artistico, Barcelona, etc., and
is sub-director of the Mexican Academy of Fine Arts,
City of Mexico He is represented in many prominent
European collections.
The Female Thief (Gallery 94).
The figure of a voluptuous young woman with
defiant expression- clad in a light flowing robe over
which is a red, blue and gold silk shawl with an iron
collar about her neck, attached by links to handcuffs
upon her wrists, is fastened to a wall, under an Arabic
inscription proclaiming her crime. Dangling in front
of her at the end of an iron chain, are gold bracelets,
a necklace, etc., which she presumably had stolen. The
figure is well drawn, the flesh painting is admirable,
and the work as a whole is most effective.
UNITED STATES.
WILLIAM A. COFFIN, New York.
Born in Allegheny City, Pennsylvania. 1855. Pupil
of Bonnat, in Paris. Was awarded second Hallgarten
prize. National Vcadcmy, New York, 1886; Webb prize.
Society of American Artists, 1891; bronze medal, Paris
Exposition, 1899; gold medal. Art Club of Philadelphia,
|8<>8; silver medal. Charleston Exposition, 1902. Di¬
rector of l ine Arts, and member of the Superior Jury
of Awards, Pan American Exposition, Buffalo, 1901;
Associate of the National Academy; member of the
Society of American Artists, the Society of Landscape
Painters, and the New York Architectural League.
Member of the Jury of Selection for the United States
Section. Department of Art Louisiana Purchase Expo¬
sition.
Evening, Somerset Valley, Pennsylvania. (Gallery 15).
A gorgeous sunset sky over a landscape in deep
shadow- green fields in the foreground, a stretch of
woods beyond and dark purple hills in the extreme dis¬
tance. The upper ^kv tones from blue-gray through
IDWAMO CAY: THI MUSIS 111 VIM
sylvania Academy of the Fine Arts, 1904. Member of
the Philadelphia Art Club, Philadelphia Water Color
Club, American Water Color Society, and New York
Water Color Club. Member of the Jury of Selection
for the United States Section of the Department of
Art. Louisiana Purchase Exposition, and of the Inter¬
national Jury of Awards.
Broad Street Station, Philadelphia (Gallery 18).
From an elevated position, the observer looks down
upon the street and its traffic, taking in the huge red
Pennsylvania Railway Station on the left, and the Gov¬
ernment Building on the right. Beyond them is a mass
of house-fronts and roofs of various colors stretching
out into the hazy distance. There is a blue sky with
opalescent clouds, and the contrasts of sunlight and
shadow are ably presented. The picture is of the
"plein air" school, full of atmospheric quality. For it
the artist was awarded the Jennie Sessnan prize, at the
Pennsylvania Academy of the Fine Arts, Philadelphia,
this year. (Other pictures bv Mr. Cooper hang in Gal¬
leries 14, iS, jo. 41 and 32. See Official Catalogue.)
(iKRMA.AY.
(t'NITKD STATES LOAN EXHIBIT.)
GOTTHARD KUEHL, Munich, Bavaria (Germany).
Born at Munich. Honorable mention. Salon, Paris,
1884; medal, 1888; medal, Munich, 1888; medal, World's
hair. Chicago, 1893. Member of the International Jury
of \ward. Exposition Universelle, Paris, 1889; Cheva¬
lier of the Legion of Honor, 1889; gold medal, Exposi¬
tion Universelle, Paris, tgoo.
The Organ Loft (Gallery 1) Lent by the Museum of
Fine Arts. St. Louis.
In the organ loft of a large church a number of
young girls are singing. There is devotional spirit
in the expression of the faces. All wear the same dis¬
tinctive costume—red dresses with blue aprons. Those
COTTHAFD KVtHL: THE OEGAX IOET
in the* foreground are in shadow; tliose beyond are in
full light, in relief, against a white wall with gilded
stucco ornament, bispecial brilliancy is given the few
notes of rich warm color in the picture by the prevail¬
ing grayness of tone. There is only one direct passage
of sunlight, yet the whole interior is full of light. Even
the shadows are so pervaded by reflected lights that
there is only a slight element of darkness in them. The
drawing of the figures and the architecture is carefully
accurate, yet the painting has been done in a free,
simple, unconstrained manner. With his strongest
lights and most literal details farthest from the ob¬
server. and the deepest shadows in the foreground, the
artist has succeeded in keeping every element in the
composition in right relationship to every other ele¬
ment. There arc few equal exemplifications of mas¬
terful expression of color values. (Other paintings by
Mr. Kuehl hang in the German Section, Gallery 55.
See Official Catalogue.)
UNITED STATES.
CHARLES WARREN EATON, New York.
Korn at Albany, New York, 1857. Pupil of the Na¬
tional Academy, and of the Art Students’ League, New
York. Honorable mention, Paris Exposition, 1900;
Proctor Prize, Salmagundi Club, New York, 1901; hon¬
orable mention. Pan- \merican Exposition, Buffalo,
1 Qoi; silver medal, Charleston Exposition, 1902; Tnness
Prize, Salmagundi Club, New York, 1902; Shaw Prize,
Salmagundi Club, iqo.t: gold medal, Philadelphia Art
Club, 1903. \ssociate of the National Academy; Mem¬
ber of the \merican Waater Color Society, and of the
New York Wataer Color Club.
The Old Mill at Crecy (Gallery 16).
The old mill, with white plastered walls and red-
tiled roofs, rises in the middle-distance, beyond a reed-
bordered stream, under the rays of a full moon. At the
right, beyond a mass of trees, is a bridge, across which
187
c. w. eaton: moomiuiii; old mill at cricy
WALTER L. PALMER: ACROSS THE FIELDS
.'iiid great charm of color; and one feels the truthfulness
of the representation. (Other pictures by Mr. Palmer
hang in this Gallery and Galleries io and it. See
()fficial Catalogue.)
RUSSIA.
T. A. DJENYAEFF, Saint Petersburg.
Member of the Spring Exhibitors of the Imperial
Academy of Arts, Saint Petersburg.
Laying the Foundation of the Kremlin (Upper Gallery,
East of Sculpture Court, Central Pavilion).
A heathenish custom prevailed among the Slavs of
former days of interring some living creature beneath
the first stone of the construction of any large im¬
portant building, and the builders usually selected the
first creature that passed near the place where the work
of construction was going on. This picture represents
the tradition that at the laying of the foundation of
the Kremlin at Ni.jni-Novgorod, at the end of the fif¬
teenth century, the young wife of a merchant, return¬
ing home in the early morning with a pail of water,
was thus chosen and buried alive under the first stone
of the citadel. The expressions of the various partici¬
pants in the scene are well studied and the work is
very effective.
EXITED STATES.
JAMES C. NICOLL, New York.
Horn in New York City, 1847. Pupil of M. F. H.
de Haas and Kruseman Van Elten. Medals: Prize
Fund Exhibition, New York, 18,84; Massachusetts Char¬
itable Mechanics’ Association, Boston, 1884; New Or¬
leans Exposition, 1885; Prize Fund Exhibition, New
York, 1880; honorable mention, Paris Exposition, 1889;
medal Atlanta Exposition, 1895; bronze medal, Pan-
\merican Exposition, Buffalo, 1901. Member of the
International Jur\ of Award, World’s Columbian Ex¬
position, Chicago, 1893; member of Jury of Selection,
191
). C. VtCOLL: "KjrAl-LY WEATHER
United States Section, Department of Art, Louisiana
Purchase Exposition, and also member of the Inter¬
national Jury of Awards. Member of the National
Academy, American Water Color Society, and New
York Etching Club.
Squally Weather (Gallery IQ).
A day of wind and rain, cloudy sky and turbulent
sea. The white-crested waves roll in, surging, swelling
and breaking upon the beach, which is only slightly in¬
dicated in the foreground. The wave forms have been
carefully studied and there is spirit and strength in the
presentation. (Other works by Mr. Nicoll hang in
Galleries it) and 30. See Official Catalogue.)
HOLLAND.
THERESE SCHWARTZE, Amsterdam.
Pupil of her father, J. G. Schwartze, of Prof. Len-
bach, Munich, and of Henner and Bonnat, Paris. Chev¬
alier of the Order of Oranje-Nassau; member of the
International Jury of Awards, Amsterdam, 1883. Gold
medal of City of Amsterdam, 1893; gold medals, Paris,
Munich, Barcelona, London and Melbourne; diploma of
honor, Ghent; medal, World's Columbian Exposition,
Chicago, 1893; silver medal, Paris, 1900 (Exposition
Universelle), etc. Honorary member, Academy of Ams¬
terdam. Represented in the Gallery dei Uftici by por¬
trait of herself (on invitation of the Italian Govern¬
ment); in the Museum Suaso, and Rijks-Museum, Ams¬
terdam; the Municipal Museum of The Hague;
Museum Boymans, Rotterdam, and the Musee de Valen¬
ciennes. Has painted many portraits of well-known
personages, including the Queens of Holland.
Portrait of Mr. Wolmarans (Gallery 59).
Half-length, life-size portrait of middle-aged man,
seated, and looking directly toward the observer. His
hands are clasped across his knees. He has dark-
THRRltA SCHWARTZ!: MR WOLMARANS
CI.ARA T. MAC CHESNEY: A GOOD STORY
brown eyes, black hair, mustache and whiskers, and is
clothed in black. Behind the figure is a rich, low-toned
blue curtain, with a slight design in gold, and bands of
gold in the border. The flesh painting is exceptionally
excellent, and the coloring throughout is rich and har¬
monious.
UNITED STATES.
CLARA T. MAC CHESNEY, New York.
Born at Brownsville, California, i86r. Pupil of the
San Francisco School of Design, under Virgil Wil¬
liams; the Gotham Art School of New York, under
Mowbray and Beckwith; and of Girardot, Courtois and
the Colarossi School in Paris. Received medals for oils
and water colors at the World’s Columbian Exposi¬
tion, Chicago, 1893; Dodge Prize, National Academy,
1894; gold medal for water color at the Philadelphia
Art Club, 1900; second Hallgarten Prize, National
Academy, 1001; bronze medal, Pan-American Exposi¬
tion, Buffalo, iQor. Member, of the New York Water
Color Club.
A Good Story (Gallery 22).
Half-length figure of an elderly man with white
hair and beard and genial expression, sitting by a table
and holding a beer mug in his left hand. He is dressed
in black, and wears an old black felt hat well back on
his head. He has the air of watching the effect of a
humorous story which he has just related. The paint¬
ing is strong, simple and realistic. For this picture the
artist received a bronze medal at the Pan-American
Exposition. (Another work by Miss MacChesney is
in Gallery 11. See Official Catalogue.)
BULGARIA.
IVAN MRKVITCHKA, Sophia.
Born at Vedim in 1856. Studied at the Academies
of Fine Arts at Prague and Munich. Awarded gold
IQ5
j. v. mrkvitchka: u. r. h. the late princes* or buloabia
medal, Exposition Universclle, Paris, 1900. Director
of the National Fine Arts School, at Sophia.
Portrait of Her Royal Highness, the Late Princess of
Bulgaria.
The Princess, a slender young woman with blue
eyes and brown hair, is represented as seated upon a
handsomely inlaid throne, on a raised dais, with eyes
raised toward the observer. She wears a white satin
robe, embroidered with gold heraldic designs enriched
with precious stones. Over her shoulders is a purple
gold-embroidered mantle, lined with crimson velvet.
On her head is a jeweled crown. At either side of the
throne is a large vase, filled with purple fleurs-de-lis.
The wall behind the figure is a mosaic representation
of a Greek ikon, in rich, low-toned coloring. For this
picture the artist received a gold medal at the Paris
Exposition of 1900. The Princess was born in 1872,
and died in 1899. She was greatly loved by the Bul¬
garian people. The carved frame of this picture—not
represented in the illustration- — is adorned with sculp¬
tured faces of the various types of humanity residing
in Bulgaria the Bulgarian, Shop, Albanian, Macedo¬
nian, Turkish, Greek, Gipsy and Jewish. At the top,
two angels are supporting the Bulgarian crown. An
inscription on the upper part of the frame recounts the
last words of the Princess — that, though dead, her
spirit would watch over Bulgaria.
GERMANY.
(united states loan exhibit.)
FRIEDERICH HERMAN KARL VON UHDE,
Munich. Bavaria, Germany. (See biographical note,
page 31.)
The Sermon on the Mount (Gallery 1). Lent by Mrs.
Halsey C. Ives, St. Louis.
Von Uhde, in his later work, has devoted himself
almost exclusively to the illustration of religious sub-
197
F. VON uhde: the sermon on the mount
jects, and, to make his representations more intimately
appealing to his countrymen, he pictures the scriptural
personages in the costumes of to-day — a custom fol¬
lowed hv the old Dutch and Italian masters in their
time. In this picture Christ is represented as a dark¬
haired workingman in a blue blouse, seated on a rude
bench, speaking to a number of persons gathered about
him, who are of the Bavarian peasant type. A man and
a woman kneel before him with hands clasped. The
woman’s face wears a questioning expression. Other
faces express faith or mere curiosity. Beyond the
figures, one sees the roofs of modern peasants’ cottages,
with smoke rising from the chimneys, and a steep hill¬
side, green in the middleground and brown higher up.
Von Uhde’s technique in this picture is much broader
and more suggestive than in “The Sewing Bee.” The
details are less worked out. The tone also is lower,
and the color is richer. (“The Sewing Bee,” by Von
Uhde, is in this same gallery. See Official Catalogue.)
UNITED STATES.
EDWARD L. HENRY, New York.
Born at Charleston, South Carolina, 1841. Pupil of
the Pennsylvania Academy of the Fine Arts, and of
F. Weber, Philadelphia, and of Suisse and Courbet,
Paris. Medal, New Orleans Exposition, 1884; honor¬
able mention, Paris Exposition, 1889; medal, World’s
Fair, Chicago. 1894: bronze medal, Pan-American Ex¬
position, Buffalo, 1901; silver medal, Charleston Expo¬
sition, 1902. Member of the National Academy and of
the American Water Color Society.
Waiting at the Ferry (Gallery 26). Loaned by Mrs.
Abraham Lansing, Albany, New York.
A young man and young woman in the costume of
the latter portion of the eighteenth century, stand on
the bank of a river awaiting the approach of a ferry
barge- rowed by a couple of men — from the opposite
side. Their old-fashioned lumbering top-buggy, with
199
EDWARD L. HENRY*. WAITING AT THE FERRY
PIETER VKRHAERTt 01.D FLEMISH SONG BETWEEN DECKS
blue-green body embellished with a coat of arms, is
halted beside them. The negro driver is astride one
of the horses, and a colored footman in blue livery sits
on a rock by the roadside. Across the river, surrounded
by trees with autumnal foliage, is a large colonial man¬
sion, characteristic of Virginia or the Carolinas in the
early days. There is a late afternoon sky, with crim¬
son, gold and purple clouds. This work, which re¬
ceived a gold medal at the Pan-American Exposition,
is one of the many pictures painted by Mr. Henry illus¬
trating the life of the early days of the history of our
country. In this same gallery hangs his picture of
the “First Railway Train in America”- -showing types
of people and costumes of the period. (See Official
Catalogue.)
BELGIUM.
PETER VERHAERT, Antwerp, Belgium.
Born in Belgium. Silver medal, Exposition-Univer-
selle, Paris, 1889.
An Old Flemish Song Between Decks (Gallery 84).
\ number of sailors are seen in the small cabin of
a fishing boat. One of them, seated on the steps lead¬
ing to the upper deck, is singing. A woman, at the
right, play- upon a fife, and a man in a blue blouse
drums. The picture is low in tone and broadly painted.
The expressions of the faces are well realized.
UNITED STATES.
BEN FOSTER, New York.
Born at North Anson, Maine. Pupil of Abbot H.
Thayer, New York, and of Morot and Merson, Paris.
Medal, World’s Fair, Chicago, 1893; second prize,
Cleveland, 1895; bronze medal, Paris Exposition, 1900;
silver medal, Carnegie Institute, Pittsburg, 1900; silver
medal, Pan-American Exposition, Buffalo, 1901; Webb
Prize, Society of American Artists, 1901. Associate of
201
BEN poster: nightfall
fresh green grass is sprouting up among the brown
weeds of the previous summer, and several trees in
the middleground are just beginning to bud into leaf.
There is a blue sky, with a mass of filmy white clouds.
For this admirably painted picture the artist was
awarded the Webb Prize at the Society of American
Artists, 1902; and the same year it was purchased by
the Shaw Fund. (Another picture by Mr. Jones hangs
on the same wall with this, and still another is in Gal¬
lery 31. See Official Catalogue.)
UNITED STATES.
OGDEN WOOD, Paris, France.
Born in New York. Pupil of Emile Van Marcke,
Paris. Member of the Jury of Selection for the United
States Section of the Art Department of the Louisiana
Purchase Exposition. Is especially devoted to the
painting of landscapes with cattle.
Normandy Heifers (Gallery 31).
In the foreground of a stretch of meadowland —
which extends to the blue sea in the distance— lie three
cows with contended expression. Beyond are other
animals anti a peasant woman outlined against dark-
foliage. The cattle are carefully studied and well
painted. The effect of .unlight and shadow on the
white cow nearest the observer is admirably expressed.
(Another picture by Mr Wood hangs on the east wall
of this gallery. See Official Catalogue.)
UNITED STATES.
JOHN C. JOHANSEN, Chicago, Illinois.
Born at Copenhagen, Denmark, 1876. Pupil of the
Art Institute, Chicago; of Duveneck, and of the Acad¬
emic Julian, Paris, under Benjamin Constant and Jean
Paul Laurens. Municipal League Purchase Prize, Art
Institute, Chicago, 1903; medal of honor, Chicago So-
JOHN C. JO HAUSEN. TUI r!CTL»l If .,K
Artists, 1904. Member of tbe Paris American Art Asso¬
ciation, and Instructor at the Buffalo Fine Arts
Academy Schools.
On the Coast of Brittany (Gallery 17). Lent by Mr.
William M. Chase, New York.
Two boats with several fishermen are seen on the
shore of a bay, under a tender purple sky in which the
moon lately lias risen. The tide has rouc out and the
footprints of the men are sunk deep in the wet sand.
The nearly smooth sea mirrors the sky, and the moon¬
light is reflected in brilliant touches which show the
slight movement of the water. (Other pictures by Mr.
Dufner hang in Room II, at Southeast corner of south
entrance to Central Pavilion. See Official Catalogue.)
*
SWEDEN.
BRUNO LILJEFORS, Upsala.
See biographical note, page 177.)
Wood Grouse (Gallery 45)
The bird is painted in a broad, simple way, with
rare fidelity to nature. It is suggestively realistic.
The tree trunks and foliage, the light gleaming through
the branches all breathe the atmosphere of the deep
woods. The painting impresses one as the work of
an artist who knows and loves the woods, and who
finds joy in his work. (Notice other works by the art¬
ist in this same gallery. See Official Catalogue.)
I'NITKI) STATES.
THOMAS EAKINS, Philadelphia. Pennsylvania.
Born at Philadelphia, 1844. Studied in the Beaux
Arts in Paris under Gerome and also under Bonnat and
the sculptor 1 turnout. Instructor and lecturer for some¬
time at the Pennsylvania Academy of the Fine Arts,
the National Academy Schools, the Art Students’
League, Brooklyn Art Guild; Art Students League,
Philadelphia, and Art Students' Guild Washing-
209
THOMAi EARIN'.: THI CLINIC Or PROFESSOR ACXEW
ton, D. C. Has been awarded medal at World's
Fair, Chicago, [893; honorable mention, Exposition-
Univcrselle, Paris, 1900; gold medal, Pan-American Ex¬
position, 1901. Member of the National Academy;
Member of the Jury of Selection, United States Section,
Department of Art, Louisiana Purchase Exposition.
The Clinic of Doctor Agnew (Gallery 27). Lent by
the University of Pennsylvania, Philadelphia.
This is a realistic presentation of the scientific phase
of modern surgery in its pictorial aspect. In the pit in
the foreground, a patient is stretched upon the operat¬
ing table, a surgeon is dressing the wound, an assistant
administers the anesthetic by the cone, and a nurse
stands ready at hand. The distinguished surgeon
stands at the extreme left, scalpel in hand, lecturing
upon the operation. The auditorium is suffused with
light, and the faces not only of the assistants, but of
the listening students, are portraits which might be
recognized. This picture differs from an earlier work
by Mr. F.akins, representing the clinic of Doctor Gross.
In the latter there is lack of antiseptic precautions and
there is an atmosphere of horror. In this work the
surgeons wear sterilized clothing and every care is ob¬
served. In the background is a sterilizing apparatus.
The expressions of the various persons are admirably
drawn. (“The Clinic of Prof. Gross," by Mr. Eakins,
bangs on the west wall of this gallery. Other paintings
by him hang in Galleries 14, 17 and 32. See Official
Catalogue.)
BRAZIL.
ELYSEE VISCONTI, Rio de Janeiro.
Born at Rio le Janeiro. Awarded silver medal at
Exposition Universelle, Paris. 1900,
San Sebastiano (Gallery 10U.
'The Saint, entirely nude, and with the usual com¬
plement of arrows distributed in his anatomy, is tied
211
E. VISCONTI: SAN SEkASTIANO
to the trunk of a tree, with eyes closed, and a beatific
expression of countenance. A female angel, with out¬
spread wings and wearing a flowing white robe with
gold carnations figured upon it, is in the act of placing
a halo upon his head. Two women -one of them wear¬
ing a purple veil look on in reverential astonishment.
I he picture is well composed, and is agreeable in color.
In treatment it is purely and successfully decorative.
e. irving covsf: Indian brave recording fight
(Copyright hy K. IrvinK Couie.)
E. IRVING COUSE. New York.
Horn at Saginaw, Michigan. 1866. Pupil of the Na¬
tional Academy. New York; Bougereau, Robert-Fleury.
and I'Kcole des Beaux Arts, Paris. Awarded Shaw
prize for drawing, at the Salmagundi Club, New York,
1809: second Hallgarten prize. National Academy, 1900;
Proctor prize, Salmagundi Club, 1900; honorable
213
GUlScrpK rtuua: mukkssiun
painter is that of a refined “pointellist”- -luminosity
being secured by minute touches of contrasting colors
in juxtaposition. (Another work by this artist hangs
in Gallery 123. Sec Official Catalogue.)
UNITED STATES.
GEORGE WETHERBEE, London, England. (See
Biographical Note, Page 149.)
Music of Pipe and Brook (Gallery iq).
An idyllic picture presenting an effect of landscape
and "kv that at once brings to mind the masterpieces
of Corot. In the foreground a foaming brook makes
its way through a mass of large stones and spreads
out in a pool below them. At the right, a mule shep¬
herd, under the shade of a large tree, plays upon his
pipe. Near the top of the hill, in the middle distance,
are several sheep. The sky is wonderfully luminous
and the sunlit clouds actually appear to be suspended.
The work as a whole is individual and masterly.
(Other pictures by Mr. Wetherbee hang in Galleries
14. 16 and 30. See Official Catalogue.)
UNITED STATES.
WII.TON LOCKWOOD, Boston, Massachusetts.
Born at Wilton, Connecticut, iR6t. Pupil of John
La Large, New ork, and later studied in Paris. Hon¬
orable mention, Carnegie Institute, 1897; Temple gold
medal, Pennsylvania Academy of the l'ine Arts, Phila¬
delphia, 1898; silver medal. Exposition-Universelle,
Paris, iqoo; silver medal, Pan-American Exposition,
Buffalo, toot. Associate of the National Academy.
Member of the Society of American Artists, and of the
Copley Society of Boston.
Portrait of John La Farge (Gallery 18).
Half-length, life-size portrait of a gentleman with
black hair, seated, with head bent forward in a re¬
flective manner, his right elbow resting on an arm of
217
WILTON LOCKWOOD: MR. JOHN LA PARC!
his chair, and a partly burned cigar held between the
fingers of his right hand. His left hand rests upon the
other arm of the chair. He has dark eyes, which are
downcast, behind eyeglasses. To those who know Mr.
La Farge, this portrait is an interpretation. It is
painted in a simple suggestive way, with atmosphere
about the figure. There is no affectation nor straining
after effect. It is the man as he appears, in his most
characteristic attitude. (Mr. Lockwood’s portrait of
ex-President Cleveland hangs in Gallery 26. See Offi¬
cial Catalogue.)
■I
FRANZ COURTENS: MORNING WORK
BELGIUM.
FRANZ COURTENS, Brussels.
Born at Termonde, Belgium. Medal, Salon, Paris,
1884; Grand Prix, Exposition Univcrselle, Paris, 1889.
Chevalier of the Legion of Honor, France. Courtens is
fjne of the strongest of the Belgian painters. Ilis land¬
scape effects arc generally strong and brilliant. He
delights in painting wood interiors with luminous skies
and wonderfully realistic effects of sunlight and shadow.
219
i rore't no romarach: tmk convalestint
Often his pictures representing peasants at work are
strongly suggestive of Millet. (See also page 44.)
Morning Work (Gallery 110).
A peasant dragging a harrow to which a large dog
also is harnessed is making his way across a broad
field in the very early morning. The air is full of mist,
through which a mass of trees is seen in the distance.
There is a clouded sky pervaded by a subdued crimson
glow. A dark cloud in the upper sky is bordered by a
golden reflection from the sun.
CUBA.
LEOPOLD ROMANACH, Havana, Cuba.
Born at Rancho Veloz, Santa Clara, Cuba, in 1870.
Studied at the Academy of San Alejandro, Havana,
and later in Rome, under Pradilla. lie has been made
Professor of Painting in the Escuela de San Alejan¬
dro, Havana. For his picture, “The Convalescent,” he
was awarded a bronze medal at the Paris Exposition
of J900; a silver medal at the Pan-American Exposi¬
tion, Buffalo, 1901, and a gold medal at the Charleston
Exposition, 1902.
The Convalescent (Gallery 7).
Lying on a pallet in a dimly-lighted room is a sick
child, anxiously watched over by a mother seated near.
The expressions of the faces are painted with appre¬
ciative feeling, and the technique is simple and ade¬
quate. The coloring is low in tone, inclined to rich¬
ness.
UNITED STATES.
J. CARROLL BECKWITH, New York.
Born in Hannibal, Missouri, 1852. Pupil of l'Ecole
ties Beaux Arts and of Carolus Duran, Paris. Honor¬
able mention, Salon, Paris, 1887; bronze medals, Expo-
sitions-Cniverselle, Paris, 1889 and 1900; gold medal,
Atlanta Exposition, 1895; Chairman of the Jury of
Award, Pan-Amcricau Exposition, Buffalo, 1900; medal,
221
J. CAKROI.L BECKWITH: MRS. BECKWITH
Charleston Exposition, 1902. Member of the Jury of
Selection for the United States Section of the Depart¬
ment of Art. Louisiana Purchase Exposition.
Portrait of Mrs. Beckwith (Gallery 31).
Full-length portrait of a lady in a black skirt, dark-
green velvet waist and brown furs, standing beside a
gilt chair upholstered with red silk brocade. The pose
is natural and the technique is simple and artistic.
(Other examples of Mr. Beckwith’s work hang in Gal¬
leries 2 and 20. See Official Catalogue.)
BRUCE IBANK: THE LAST OK WINTER
UNITED STATES.
BRUCE CRANE. New York.
Born in New York City, 1857. Pupil of A. H. Wy¬
ant. Webb Prize, Society of American Artists, 1897;
bronze medal, Paris Exposition, iyoo; George Inness
Memorial gold medal, National Academy, 1901; silver
medal, Pan \merican Exposition, Buffalo, 1901; silver
medal, Charleston Exposition, 1902. Member of the
223
CHARLES H. DAVIS: SUMMER CLOUDS
in sunshine and partly in cloud-shadow. There is the
suggestion of bluffs or dunes fronting upon the river.
There is an impressive largeness of grasp in this work,
which is instinct with truth and fine in color. (Another
picture by Mr. Davis hangs in Gallery 15. See Official
Catalogue).
ITALY.
VINCENZO CAPRILE, Naples.
Received a bronze medal, Exposition Universelle.
Paris, jqoo.
Easter Market at Naples (Gallery 121).
In a large open square in Naples, a great many
sheep, with their feet tied, lie on the pavement, while
people are bargaining for them. In the center of the
composition, a rotund priest is gazing reflectively upon
the animals. A man at the left carries over his shoulder
and in one hand several lambs. Across the square,
under the awnings of the shops, people are eating and
drinking, and some sheep are standing, huddled to¬
gether. The effect is of early morning, under a gray
sky. In drawing, color and technique, the work is
exceptionally excellent.
UNITED STATES.
DOUGLAS VOLK, New York and Centre Lovell,
Maine.
Born at Pittsfield, Massachusetts, 1856. Pupil of
J. L. Gerome, Paris. Awarded medal at World's Co¬
lumbian Exposition, Chicago, 1893; Shaw fund pur¬
chase ($1,500), Society of American Artists, 1899; silver
medal, Pan American Exposition, Buffalo, 1901; silver
medal. Charleston Exposition, 1902; Carnegie prize,
Society of American Artists, 1903. Member of the
National Academy and the Society ot American Artists.
Boy With an Arrow (Gallery 4).
A young boy in a white woolen “sweater with a
purple roll at the throat, fawn-colored breeches and
227
untciA* vo! k »o> with a* arrow
Arvvot r cry: the orange cirl
hand holding over his shoulder the orange standard
of Nassau. A young woman in a red cloak, bordered
with white fur, brings him his sword and black-plumed
hat. In an adjoining room several of his companions,
in uniform, evidently are awaiting an order to march.
The picture is strong, yet refined in coloring. (Other
works by Mr. McEwcn arc in this gallery and in gal¬
leries 31 and 3.2. See Official Catalogue.)
F. MC c. knowi.es: landing the catch
CANADA.
F. McGILLIVRAY KNOWLES, Toronto, Canada.
Born at Syracuse, New York, i860. Family moved
to Canada in 1874. Studied in Toronto, New York,
and, later, in London, under Hubert Herkomer, and
in Paris, under Benjamin-Constant. Awarded medal
by California Art Society, San Francisco, and honorable
mention at Pan-American Exposition, 1901.
Landing the Catch (Gallery 51).
View of an inner bay, with a line of fishing boats
drawn in as far as possible, and standing high out of
231
1 nniiK k i. church: thi sea serpent
the water at low tide. This is the opportunity for un¬
loading them into smaller boats which are met by
wagons driven into the water. The effect is of early
morning. The upper sky is of an ashen gray-green, with
masses of rosy clouds near the horizon. The warm red
glow of the morning sunshine on the upper portions of
the sails, and the purple-gray of the shadowed portions
below, contribute to a very pleasing color effect. The
picture is painted in a broad, simple, artistic manner.
UNITED STATES.
FREDERICK S. CHURCH, New York.
Born at Grand Rapids, Michigan, 1842. Pupil of L.
E. Wilmarth, Walter Shirlaw, the National Academy,
and the Art Students’ League. Member of the National
Academy, the Society of American Artists, the Ameri¬
can Water Color Society and the New York Etching
Club.
The Sea Serpent (Gallery ,40). I,cut by Mr. William
K. Bixby, St. Louis.
What the distant mariner might mistake for a sea
serpent writhing sinuously through the water is really
a troop of mermaids disporting themselves upon the
backs of sturdy fishes. As in most of the artist's fanci¬
ful conceits, these mermaids are creatures of beauty
and grace, and the color scheme is an opalescent com¬
mingling of pinks, pale greens, blues and yellows.
(Other pictures by Mr. Church are in Galleries 26 and
31. See Official Catalogue.)
ITALY.
CESARE LAURENTI, Venice.
Awarded a silver medal at the Exposition-Univer-
sallc, Paris, 1900.
A Soul in Trouble (Gallery 120).
A young woman in habiliments of mourning has
been reclining upon a mattress in the corner of a poor
233
CESARE LAURENT! : A SOUL |\ TROUBLE
in the realm of art. The work has been painted simply
and directly with knowledge and sincerity, and with
a degree of literal truthfulness that challenges com¬
parison with the works of the old Dutch painters of
still-life. It is subtle in coloring, like a work by
Whistler; it is broad, yet finished; complete, yet re¬
served in treatment. It shows the beauty and charm
inherent in the commonest things, when interpreted
with true artistic feeling. (Other pictures by Mr. Carl-
sen hang in galleries 14, 19 and 32. See Official Cata¬
logue.)
UNITED STATES.
DWIGHT W. TRYON, New York. See Note,
page 29.)
Dawn; Early Spring (Gallery 32). Lent by Mr. William
K. Bixby, St. Louis.
This is a later picture than the “Sunset” (page
29, painted in 1SS3), and is more characteristic of
the artist’s present method. Under a luminous sky of
silvery gray, becoming vitalized by the first gleams of
sunrise, lies a <juiet gray-green landscape suffused in
the haze of early morning. A row of feathery-foliaged
trees stretches across the middle-ground, with fields
beyond and distant foliage. Here again is a most
poetic interpretation; subtle, refined, making manifest
the very spirit of nature to the sympathetic observer.
(Other works by' Mr. Tryon are in this gallery and in
Galleries 21, 22 and 31. See Official Catalogue.)
UNITED STATES.
WALTER FLORIAN. Scheveningen, Holland.
Born in New York City, 1878 Pupil of the Art
Students’ League, New York.
Portrait of Josef Israels (Gallery 4). Painted at The
Hague, Holland, 1003.
The veteran Dutch painter is seen seated in his
studio, resting his chin upon his right hand and gazing
237
\
HAItU ELORIAN PORTRAIT OP JOSEf ISRAELS
KI CKS E I.AVIEILI.E: MOONLIT VILLAGE STREET
directly at the observer. In his left hand, which rests
on his knee, he holds his palette and brushes. The pose
is natural, as ii the artist had paused for a moment
from his work to greet a visitor. The picture is painted
in a broad, free manner, and in rich, low-toned color.
(Other pictures by Mr. Florian hang in Gallery 32.
Sec Official Catalogue.)
FRANCE.
(united states 1 . 0 an exhibit.)
EUGENE LAVEIELLE, France (1820-1903).
Born in Paris, 1820. Pupil of Corot and Lequien.
Medals, Salon, Paris, 1849, 1864 and 1870. Legion of
Honor, 1878. Died, 1893. lie was pre-eminently a
painter of night effects and of moonlight, lie is repre¬
sented in the gallery of the Luxembourg, Paris, in the
museums of Lille and Nantes, and in numerous im¬
portant private collections. Hi- works are exceedingly
rare in America.
A Moonlit Village Street (Gallery 1). Lent by Mrs.
John T. Davis, St. Louis.
The moon is not visible in the picture, but the in¬
fluence of the moonlight pervades every part of it —
not only where it falls directly upon the gray walls of
the houses, but in the dark shadows — where there is
the smallest amount of reflected light—and in the tender
blue sky, in which, as one looks at the picture for a
time, the stars appear, one by one. As an expression
of the spirit of moonlight as well as for real truth in
poetic guise, this work is very appealing.
UNITED STATES.
HENRY PRELLWITZ, New York.
Born in New York City, 1865. Pupil of Thomas W.
Dewing and the Art Students’ League, New York, and
of the Academic Julian, Paris. Awarded Third Hall-
garten Prize, National Academy, 1893; bronze medal,
Pan-American Exposition, Buffalo, 1901. Member of
239
itrsKY rn; iw ih: loti*?. i.ai rei.
the Society of American Artists. Instructor of the Life
Classes at Pratt Institute, Brooklyn, N. Y.
Lotos and Laurel (Gallery 14).
An allegory. The young pilgrim, to the right,
among an intricate tangle of trees and briers, is con¬
fronted by maidens offering the lotos, symbolizing ease,
music, wine, etc., and extending welcoming arms; while
a somber, hooded figure in the background intervenes
and shows the forgotten laurel wreath to recall to the
youth his ambitious dreams. The youth hesitates be¬
tween the two. The general scheme of color is in pale
gray-greens, delicate pinks, blues, yellows, grays and
browns- the effect of the whole being extremely
decorative. The figures arc graceful and are mostly of
refined type, painted in a charmingly artistic manner.
UNITED STATES.
ALPHONSE JONGERS, New York.
Born in France, 1872. Was a pupil of l'Ecole des
Beaux Arts, in Paris, under Cabanel, Elie Delauney
and Gustave Moreau. Afterward studied two years in
Spain, and practiced his profession as a portrait painter
for some time in England, and, later, in Canada. Has
resided in New York nearly six years, and has painted
many distinguished persons.
Portrait of Mrs. Alphonse Jongers (Gallery 22).
Half-length, life-size portrait of an attractive young
lady, with blue eyes and light brown hair, seated, fac¬
ing the observer. She wears an elaborate, low-cut silk
dress of lilac and pale green, with white lace at the
collar and sleeves. Over her right shoulder is care¬
lessly thrown a brown fur boa, which she holds in place
with her right hand. Her left hand rests in her lap.
The painting of the face, hands and hair has been ac¬
complished by sure, subtle touches the work of one
241
ALPHONSE JOKGERS: PORTRAIT OP MRS. JONCIRS
of Selection for the United States Section of the De¬
partment of Art for the Louisiana Purchase Exposition,
and of the International Jury of Awards.
The Golden Hour (Gallery 16).
Two young women of refined type, one with dark,
the other with lighter auburn hair. Beyond the heads
is a sunset sky crimson and golden near the horizon
and rich blue above. There is a suggestion of land¬
scape below. In the exquisite color and delicate model¬
ing of the heads the work is especially noteworthy.
(Other examples of Mr. Baer’s work hang in the same
case with this, in the center of Gallery 16. See Official
Catalogue.)
UNITED STATES.
LOUIS LOEB, New York.
Born at Cleveland, Ohio, 1866. Pupil of J. L.
Gerome, Paris. Honorable mention, Salon, Paris, 1895;
third-class medal, Salon, Paris, 1897; silver medal for
drawing and silver medal for painting, Pan-American
Exposition, Buffalo, 1901; Ilallgarten prize. National
Academy, 190a; Webb prize, Society of American
Artists, 1903. Associate of the National Academy;
member of the Society of American Artists, of the New
York Architectural League, and of the Society of Illus¬
trators. Member of the Jury of Selection for the
United States Section, Department of Art, Louisiana
Purchase Exposition.
The Breeze (Gallery 16). Lent by Mr. S. R. Guggen¬
heim, New York.
On the top of a hill with grassy slopes at the right
and masses of rock at the left, is a majestic group of
trees which seem to sway gently in the breeze. At the
right, in the middle-distance, a group of willowy female
figures, in light flowing garments blown into picturesque
folds, dance with idyllic grace. Two figures — one
sitting and one reclining — in the foreground, give
245
j. v. mrkvitciika: an insurgent
after having painted from a living model in the pres¬
ence of his pupils, and having stopped to lecture upon
the principles of technique which he has been exem¬
plifying. The portrait is wonderfully like Mr. Chase.
It is painted in the tremendously virile manner charac¬
teristic of Mr. Sargent — strongly, simply, artistically.
(Other works by Mr. Sargent are in Galleries 2 and
.32. See Official Catalogue.)
CARLTON T. CHATMAN I THE DERELICT
rXITEI) STATES.
CARLTON T. CHAPMAN, New York.
Born at New London, Ohio. Pupil of the National
Academy and the Art Students’ League, New York,
and of the Julian Academy, Paris. Silver medal, Bos¬
ton, 1892; medal, World's Columbian Exposition, Chi¬
cago, 189.3; medal, Atlanta Exposition, 1895; bronze
medal, Pan-American Exposition, 1901; bronze medal,
Charleston Exposition, rqo2. Associate of the National
Academy, Member of the Society of American Artists,
249
YAROSLAV VESIN: sniPKA
American Water Color Society, and tire New York
Water Color Club. Painter principally of marines,
naval engagements, etc. As illustrator, accompanied
United States Naval forces in Spanish American war,
Member of the Jury of Selection for the United States
Section, Department of Art, Louisiana Purchase Expo¬
sition, and also Member of the International Jury of
Awards.
The Derelict (Gallery 25).
The dismantled hull of a wrecked vessel rolls in a
restless sea, in the moonlight. The sea in the fore¬
ground dashing against it recoils in masses of foam.
Tn the middle distance a large steamer looms through
the haze. The movement of the sea, the moisture in
the air and the shimmering effect of the moonlight are
admirably suggested.
HU LG A RIA.
YAROSLAV VES 1 N, Sophia.
Born in \ rana, i860. Studied at the Academy of
Fine Arts at Prague. Honorable mention, Exposition-
Universelle, Paris, 1900. lias been appointed Military
Painter to the Ministry of War, at Sophia.
Shipka (Gallery 127V Lent by the Ministry of War,
Sophia.
A representation of a scene at the twenty-fifth antii
versarv of the battle of Shipka Pass as the result of
which Bulgaria achieved her independence. Prominent
in the picture arc the Prince of Bulgaria, the Grand
Duke Nicolai Nicolaevitch son of the Russian Com¬
mander in chief in the Kusso-Turkish war in 1877, the
Russian generals who had participated in the battle
and who had been delegated by the Emperor to be
present at the celebration, and Bulgarian and Russian
general officers. They arc inspecting the site and are
discussing the positions and incidents of the battle.
251
II. R. U. C MU (IS I, KIN', or PORTUGAL: CATTLE DRINKING
The troop of soldiers in the immediate foreground
represents the modern Bulgarian service. The picture
is painted in a direct, forceful and artistic manner.
The landscape and figures are equally well expressed,
and there is excellent atmospheric quality. (Another
work by Mr. Vechin is shown in this same gallery. See
Official Catalogue.)
PORTUGAL.
HIS ROYAL MAJESTY, KING CARLOS I., Lisbon.
Born 1863, at Lisbon. Awarded a silver medal at
the Exposition-Universelle, Paris, 1900. Member of the
National Society of Fine Arts of Lisbon.
Cattle Drinking (Pastel) (Gallery 128).
In the foreground, in a pool of limpid water reflect¬
ing the sky, a portion of a drove of cattle has come to
drink. A herdsman, on horseback, across a point of
land in the middleground, looks after them. At the
extreme left, at the top of a rise, comes the main drove,
in charge of two horsemen, stirring up a cloud of dust.
The cattle are well drawn and modeled, and the land-
scape is admirable. The bright green grass near the
river, the broken clay banks of the opposite shore, the
gray-green and brown fields beyond, and the blue sky
with light drifting clouds, contribute to a composition
that is vital in character, true to Nature and charming
in color.
UNITED STATES.
FRANK C. JONES, New York.
Born at Baltimore, Maryland, 1857. Studied in
l’Ecole des Beaux Arts, Paris, in the studio of Leh¬
mann; later under Boulanger, Lefebvre and Yvon.
Awarded the Clarke Prize at the National Academy,
New York, 1885; Giver medal, Pan-American Exposi¬
tion, Buffalo. lyot. Member of the National Academy,
the bociety of American Artists, the American Water
253
FRANCIS C. JONKS: THF. IDIEKS
Color Society, the New York Architectural League, and
the Society of Mural Painters. Member of the Jury
of Selection for the United States Section of the De¬
partment of Art, Louisiana Purchase Exposition.
The Idlers (Gallery 30).
Three attractive young women in Greek costume re¬
cline in easy, graceful attitudes on a long pale green
divan, piled with silk pillows of a variety of colors.
The one nearest the observer has auburn hair, and
wears a salmon-colored robe; the second, a blonde—
leaning against the first- is in white and pale yellow;
and the third, a brunette, with her bare arms raised
in languorous attitude, is in green. In composition, in
color and in the types of beauty portrayed, the picture
is charming. (Another picture by Mr. Jones hangs in
Gallery 21. See Official Catalogue).
UNITED STATES.
HENRY S. HUBBELL, Paris, Prance.
Born at Paola, Kansas, 1X70. Pupil of the Art In¬
stitute, Chicago, and of Whistler, Collin, Laurens and
Benjamin Constant, Paris. Honorable mention, Salon,
Paris, 1901; medal, 1904. Member of the Paris Amer¬
ican Art Association; member of the Jury of Selection,
United States Section, Department of Art, Louisiana
Purchase Exposition.
At Grandmother’s (Gallery 31).
Seated at a table near a window through which the
sunshine comes with strong effect, is a young, fair¬
haired boy with a brown jacket, enjoying a luncheon.
An elderly woman stands behind the table, regarding
him with affectionate expression. The woman wears a
bright red skirt, with brown bodice and white sleeves
and a white cap. In the window a plant with red
flowers, and a skein of bright blue yarn, and—beside
the boy on the bench a blue coat and red cap, give
effective and valuable color notes. All the details of
255
HISUY S. NVIIEU: AT CkANDMOTtUR s
the picture, including the pi teller, the bread and the
apples on the table, are painted with striking fidelity to
Nature. In well balanced composition and drawing, and
in its rich, warm color, the work is very satisfying.
(Other pictures by Mr. Hubbell hang in Galleries 14
and 15. See Official Catalogue.)
UNITED STATES.
ZELMA BAYLOS, New York.
Born in Butka, Zemplen, Hungary. Pupil of Will
11 . Low, Edgar M. Ward, C. Y. Turner and the Na¬
tional Academy, New York; of the Academy Colorossi,
under Courtois, I’rinet and Girardot, and of l’Kcole des
Beaux Arts, Paris, lias exhibited works in sculpture
as well as in painting.
Master Paul (Gallery 34).
Full length, life-size portait of a blue-eyed, fair¬
haired boy in a dark blouse suit, standing, resting his
hand on a balcony railing. The face admirably ex¬
presses the character of happy childhood.
UNITED STATES.
FREDERIC P. VINTON, B oston, Massachusetts.
Born in Bangor, Maine, 1X46. Pupil of William
Hunt and I )r. William Kimmer, Boston; and of Bonnat
and Laurens, Paris. Studied also at the Royal Bavarian
Academy, Munich. Honorable mention, Salon, Paris,
1890; medal, World's Fair, Chicago, 1893; medal, At¬
lanta Exposition. 1895; silver medal. Exposition-Uni-
verselle, Paris, 1900; gold medal, Pan-American Exposi¬
tion, Buffalo, 1901. Member of the National Academy
and of the Society of American Artists; Member of the
Jury of Selection for the United States Section, De¬
partment of Art, Louisiana Purchase Exposition.
Portrait of the Honorable Henry E. Howland (Gallery
I4-)
Three-quarter length, life-size portrait of a gentle¬
man, standing, leaning against a table, facing the ob-
257
FREDERIC P. VINTON. THE HON. HENRY f H'WLAND
server. He has blue eyes, iron gray hair and a yellow-
gray mustache, and is dressed in a conventional black
business suit. The expression indicates a man of dis¬
cernment, discrimination, force of character and gen¬
iality. It is painted broadly, yet conservatively, with
excellent realism in effect. (Another portrait by Mr.
Vinton is shown on the north wall of Gallery 16. See
Official Catalogue.)
H< JLLAXI).
JAN VAN ESSEN, Scheveningen, Holland.
Painter of animals and landscapes. Horn 1854.
Medals Melbourne, 1881; Amsterdam, 1884; Nice,
1884; Brussels, 1884; Cologne, 1889. Honorable men¬
tion, Exposition Universelle, Paris, 1889. Represented
in the Museums of Amsterdam, Haarlem, and in the
collections of 11 \Y. Mesdag and Her Majesty the
Queen of Holland.
On the Heath (Gallery 47)
A vast expanse of sandy ground, grown over with
sparse vegetation, under a luminous blue sky with mov¬
ing clouds. I he figure of a peasant woman in a blue
259
cn\RtF$ MMvatr erwfY: the gray robe or twilight
dress gives a color accent in the middle ground. At
the left and to the extreme right are masses of trees.
In the far distance are sand dunes and a windmill. The
composition is large and simple and is painted with
breadth befitting the subject. (Another work by Mr.
Van Essen is in Gallery 58. See Official Catalogue.)
EXITED STATES.
CHARLES MELVILLE DEWEY, New York.
Born at Lovvville, New York, 1X51 Silver medal,
Pan-American exposition, 1901. Member of the Society
of American Artists, and Associate of the National
Academy.
The Gray Robe of Twilight (Gallery 32). Lent by the
Buffalo Fine Arts Academy.
The observer looks toward the East—after the sun
has gone down in a glow of color behind him—over
an expanse of dark gray-green landscape with a sedgy
pool in the foreground, a clump of trees in the middle-
distance at the right, and the tops of houses near the
horizon, reflecting the la>t faint glow of the fading
western sky. A fvdl moon lately risen, in a gray-green
sky with touches of rose color in its upper portion and
purple-gray near the horizon begins to assert herself
through the haze, and is reflected across the surface of
the pool. It is the real twilight which Mr. Dewey
has painted. ( Another painting by Mr. Dewey hangs in
this same gallery. See Official Catalogue).
I'XITED STATES.
ARTHUR JOHNSON. Berlin.
(No biographical details at hand.)
The Sun-Kiss (Gallery 2).
Seated at the foot of a bent tree trunk, on a hill-side
strewn with scarlet poppies, by a river, is a nude female
figure, with bead thrown back and the face illumined by
a flood of sunshine. The eyes are closed, adding to the
ARTHUR JOHNSON A SUN KISS
it away. There is a suggestion of a stream in the im¬
mediate foreground. There is a gray sky, full of light,
am! excellent atmospheric quality. In character, this
picture strongly suggests the Dutch school, though
there are in it individual qualities distinctive of the
artist. It is rich in color and fine in tone. (Other
pictures by Mr. Gruppe are in Galleries io and 16. See
Oificiai Catalogue.)
EXITED STATES.
ROSWELL M. SHURTLEFF, New York.
Born at Ritidge, New Hampshire. Pupil of the
Lowell Institute, Boston, and of the National Academy,
New York. Bronze medal, Pan-American Exposition.
Buffalo, 1901. Member of the National Academy, and
of the American VVatcr Color Society.
The Silent Woods (Gallery 15).
The interior of a forest slope in mid-summer, with
tall trees, a sparse green undergrowth, and a brooklet
trickling unevenly down between mossy stones into a
placid pool at the observer's feet. The soft earth, cov¬
ered with green shrubs, old dead leaves and moss cov¬
ered rocks, has been carefully studied. A bright pas¬
sage of sunshine strikes through the trees in the middle
distance, and a gentle light is diffused throughout the
picture. (Other works by Mr. Shurtleff are in Water
Color Gallery 13. See Official Catalogue.)
EXITED STATES.
LOUISE COX (Mrs. Kenyon Cox), New York.
Born in San Francisco, California, 1856. Studied at
the National \cademy and at the \rt Students’ League,
New York, mainly under Kenyon Cox. Third Hall-
garten Prize, National Academy, 1896; medal, Exposi¬
tion Universelle. Paris. 1900; silver medal, Pnn-Ameri-
can Exposition, Buffalo, iqoi; Julia A. Shaw Memorial
Prize, Society of Nmerican Artists, 1903. Mrs. Cox is
265
I
*
LOUISE cox: WAITING
green, broken by reflections of a pale purple sky. The
surf rolls upon the sandy beach, leaving behind it pools
mirroring the sky, but deeper in color. There is a feeb
ing of moisture in the air. (Other pictures by Mr.
Farazyn are in Galleries 85 and 88. See Official Cata¬
logue.)
FRANCE.
STANISLAS LEPINE, Paris.
Enrolled among the impressionists, Lepine has
found his subjects mostly along the Seine, in or near
Paris. lie has painted the bridges, the quays, the pic¬
turesque structures along the river banks, the boats,
the barges, and the moving life thereabout. His work
is somewhat related to that of the late painter Boudin,
though it i- usually warmer in tone, and carried rather
further.
Le Pont De l’Estacade, Paris (Gallery 108). Lent by
Messrs. Durand-Ruel, New York.
The observer looks from a point in the river toward
a temporary bridge, across which persons are passing,
and beyond which one obtains a view of a stone and
iron bridge undergoing repairs. Still further beyond,
masses of tall buildings rise above the quays. The
sky is of tender opalescent coloring, and, with the
cream-colored buildings, interspersed with masses of
green foliage, is retlected by the water with charming
effect.
UNITED STATES.
CARLETON WIGGINS, New York.
Born at Turners, Orange County, New York. Pupil
of the National Academy and of George Inness, New
York. Was awarded gold medal at a Competitive Prize
Fund Exhibition, New York, 1877; bronze medal at
the Pan-American Exhibition, Buffalo, 1901. Member
of the Society of American Artists, Associate of the
National Academy. Member of the American Water
269
T. CARl,ETON WIGGINS: EVf N ( N<i. VIM OF GREZ
WILI4AM H. Hour: * N Cl' AID, YAM FY V HU lRsN[iVV\|NI
Color Society, and of the Society of Landscape
Painters.
Evening: Street in the Village of Grez, France (Gal
lery 14). Lent by Mr. Charles M. Kurtz, New York.
Under a most tender and luminous blue sky in
which one feels the influence of the sunset, the street is
in shadow except where the last rays of the sun linger
upon the upper portions of the houses, the thatched
roofs, chimneys and the gabled church tower. The
soft contrast of the weak sunlight and the blue-gray
shadowed walls is expressed with artistic feeling. One
notes the truth of the “values" in this work, and must
admire the exquisite harmony in its color. (Other pic¬
tures by Mr. Wiggins hang in Galleries 2 and 32. See
Official Catalogue.)
UNITED STATES.
WILLIAM H. HOWE, New York.
(See biographical note, page 123.)
On Guard, Valley of the Brandywine.
\ sturdy bull stands on the bank of the historic
river, showing a conscious leadership of the herd of
cattle in the broad meadow. The animal is painted
with truthfulness to Nature, in a manner which is fully
informed and artistic. The cattle beyond likewise are
natural in pose, and realistic in treatment. The sky.
with soft opalescent clouds, suggests an effect after a
recent rain.
UNITED STATES.
THOMAS ALLEN. Boston, Mass.
Born at St. Louis, Missouri, 1849. Studied at the
Royal Academy, Diisseldorf. Awarded silver medal,
Boston, 1884: bronze medal, Pan-American Exposition,
Buffalo, 1901. Member of the Jury of Award, World’s
Columbian Exposition, Chicago, 1893; Member of the
Jury of Award, Tennessee Centennial Exposition,
T IIO VI AS \1 I I N
WAMABBOOk FOtD, DA*T MOO* ENCI AND
Nashville, 1897; Member of the Jury of Selection for
the United States Section, Department of Art, Louis¬
iana Purchase Exposition, and also Member of the
International Jury of Awards. Associate of the Na¬
tional Academy; Member of the Society of American
Artists; President of the Paint and Clay Club, Boston;
President of the Boston Society of Water Color
Painters; Vice-President of the Copley Society, Bos¬
ton; Member of the Boston Art Club; President of the
Council, Boston Museum of Fine Arts School of Draw¬
ing and Painting.
Wallabrook Ford, Dartmoor, England (Gallery 16).
An expanse of moorland, with a road leading toward
a stream bordering the foreground, along which two
horsemen are driving a drove of horses toward the
observer. The greater portion of the composition is
in cloud-shadow, but a rift of brilliant sunshine
illumines a passage of the foreground. The rapid move¬
ment of the animals is well suggested.
UNITED STATES.
HARRY W. WATROUS, New York.
Born at San Francisco, 1857. Studied in Faris at
the Academic Julian and in the studio of Bonnat.
Worked in Spain, Northern Africa, Munich, Florence,
and Paris Awarded the Clarke Prize at the National
Academy, 1894. Member of, and for several years has
been Secretary of the National Academy, New York.
Member of the Jury of Selection for the United States
Section of the Department of Art, Louisiana Purchase
Exposition.
She Who Hesitates (Gallery 32). Lent by Mrs. E. W.
Bliss, New York.
A young woman is seated 011 a green velvet chair,
in a handsome apartment, before a table at which she
has been writing. She apparently has stopped to re¬
flect for a moment, resting her left hand on the table,
and holding a quill pen poised in the right hand. She
HARK Y W. WATROUS ON* WHO 11*SITAT*S
PAUL MOSCHOWITI: MRS. M. AND CHILD
lias fair complexion, auburn hair, and wears a black
velvet gown with lace over-dress and lace sleeves, with
white gauze about the shoulders. Behind her is a hand¬
somely decorated leather screen. There is most careful
drawing and conscientious realization of textures in
this picture, which is highly finished in every detail.
As a composition in color it is agreeable and effective.
(Another picture by Mr. Watrous hangs in this same
gallery. See Official Catalogue.)
UNITED STATES.
PAUL MOSCHOWITZ, New York.
Born at Ciralt, Hungary, 1875. Studied with H.
Siddons Mowbray, and the Art Students’ League, in
New York, and with James McNeill Whistler and Jean
Paul Laurens in Paris. Won the Henderson Scholar¬
ship and the Tiffany Gold Medal at the Art Students'
League. Member of the Society of American Artists.
Instructor at Pratt Institute, Brooklyn, N. Y.
Mrs. M. and Child (Gallery 19).
\ woman with black dress is seated in the shadow of
a tree, holding in her lap a child of perhaps three years,
in a white dress. The llesh painting is admirable. At
the extreme right is a vista of landscape and pale blue
sky. There is charming expression in the faces, and in
pose the figures are unaffected and natural.
UNITED STATES.
ROBERT HENRI, New York
Born in Cincinnati. Ohio, 1865. Studied at the Penn¬
sylvania Academy of the Fine Arts, and in Paris, Italy
and Spain. His picture, “La Niege," was bought by
the French Government for the Luxembourg Gallery
in 1899. Silver medal, Pan-American Exposition, Buf¬
falo, 1901. Member of the Society of American Artists.
Portrait of Young Woman in Black (Gallery 32).
Full length, life-size portrait of a lady, standing.
She wears a black dress with open jacket, showing a
275
ROBERT HENRI: A LADY IN BLACK
HR
and housetops, which are seen against a warm, rosy-
purple sky.
UNITED STATES.
FRANK VINCENT DU MOND, New York.
Born in Rochester, New York, 1865. Pupil of
Boulanger, Lefebvre, and Benjamin-Constant, Paris.
Gold medal, Atlanta Exposition, 1895; gold medal, Bos¬
ton, 1896; silver medals for painting and for illustration,
Pan-American Exposition, 1901. Associate, National
Academy; Member, Society of Mural Painters, Society
of Illustrators, New York Architectural League, etc.
Bacchanal (Gallery 23).
A decorative treatment of the theme, exceedingly
graceful in line, agreeably harmonious in color and full
of joyius movement. Among the luxuriant vines at the
right, a group of young women in loose, flowing robes
severally press the juice from the grapes, quaff it, strike
the cymbals, dance in their exuberance, and invite the
observer to join in their revels. Several nude figures,
reclining on the sward, eagerly pull the vines toward
them. In the middle-distance, a number of nude figures
chase a stag across a meadow. The work is individual,
unconventional, and charmingly artistic.
UNITED STATES.
M. JEAN McLANE, New York.
Born, Chicago, Illinois, 1878. Pupil of the Chicago
Art Institute, and of Frank Duveneck and William M.
Chase, New York, lias painted portraits, genre pic¬
tures, mural decorations, designs for stained glass, and
has devoted considerable attention to illustration.
Girl in Gray (Gallery 32).
The graceful figure of an attractive young woman
in a gray dress, black hat, and with a large gray muff,
who appears to have stopped in her walk as if to answer
279
!
M. JEAN MCI.ANE:TIIE GIRL IN CRAY
a question. There is the suggestion of arrested move¬
ment in the figure, which is painted in a broad, simple,
reserved, yet adequate manner. There are effective
touches of rosy light on the hair, the shoulders, and at
the curve of the skirt. The background is dark, well
relieving the figure. (Other works by Miss McLane
hang in this gallery, in Gallery 9 and Alcove E, in Cen¬
tral Sculpture Court. See Official Catalogue.)
THEODORE C. STEEI-E: NOVEMBER MORNING
UNITED STATES.
THEODORE C. STEELE, Indianapolis, Indiana.
Born in Indiana, 1847. Studied in Munich under
I.oefftz and Benzur, 1880-5. Awarded medal of the
Academy, Munich; honorable mention, Exposition Uni-
verselle, Paris, 1900. Mr. Steele inclines toward im¬
pressionism in painting, but is not an extremist. He
was one of the founders of the Society of Western
Artists and president of the society during 1899 and
1900. Member of the Indianapolis Art Association;
member of the Jury of Selection, United States Section,
281
M ASAO CI.IO: CROWS ON A TREK
Department or Art, Louisiana Purchase Exposition, and
member of the International Jury of Awards.
November Morning (Gallery 3).
In the foreground a small river flows toward the ob¬
server, coming into view as it curves around a jutting
point of land. On the opposite shore, on a rising
bench of land, are the houses of a village set among
the trees. Far beyond are purple hills against a blue
sky. (Other works by Mr. Steele are in this Gallery
and Galleries 22 and 31. See Official Catalogue.)
JAPAN.
MASAO GEJO, Tokio.
Korn in Japan. Considered the most distinguished
living painter of the great Kano School. For his great
services in the field of art he was appointed, by Im¬
perial Nomination, a member of the House of Peers.
Crows on a Pine Tree, Screen of Six Panels (Gallery
125).
This screen, the composition of which is reproduced
in the illustration, is considered one of the master¬
pieces of Gejo, and admirably exemplifies the exquisite
Japanese taste which determines the proportion of
the design to the space which it decorates, and the
position of the decoration in that space. These prin¬
ciples constitute the greatest object lesson which
classical Japanese art offers for the guidance of the
painters, sculptors, architects, decorators and art
workers of every kind in Occidental countries. I hey
exemplify the highest degree of refinement in artistic
culture.
UNITED STATES.
GUSTAV HENRY MOSLER, New York.
Born at Munich, Bavaria, 1877. Pupil of his father,
Henry Moslcr, and of Bonnat and l’Ecole des Beaux
Arts, Paris. He first exhibited a picture at the Salon,
Paris, when only sixteen years of age. In 1901 he re-
283
Ot'STAVE I1KSRY MOSLIR.DE PROFUNDIS
ceived a third class medal at the Salon. Already he is
represented in a number of important collections.
De Profundis (Gallery 2 ).
Standing beside his plow, which rests in the furrow,
a French peasant bows his bared head as a funeral pro¬
cession passes along the road bordering the field in
which he is working. The two horses -one white, the
other dark brown stand still among the upturned clods,
with their heads turned towards the marching choris
ters. There is a bright blue sky with white clouds.
The immediate background is in cloud-shadow; the
middle ground is in brilliant sunlight. The man, the
horses, the plowed ground, are painted realistically—
with almost stereoscopic effect. This picture is one
of the largest works in the United States Section — the
man and animals having the effect of being life size.
The work illustrates the devotional spirit of the French
peasantry.
UNITED STATES.
FREDERICK W. KOST. New York.
Horn in New York City, 1861. Pupil of the National
Academy, and studied for some time in Munich and
Paris. Honorable mention, Exposition-Universelle,
Paris, 1900; bronze medal, Pan-American Exposition,
Buffalo, jqor. Associate of the National Academy;
Member of the Society of American Artists, and the
Society of Landscape Painters.
The Ford at East Quogue, Long Island (Gallery 18).
Lent by Mr. Lyman G. Rloomingdale, New York.
Under a bright sky filled with masses of white cloud,
is a stream through which a man standing on a wagon
is driving to the opposite shore, whence leads a road¬
way. The trees in the middleground are beginning to
be tinged with autumnal coloring. The movement of
the water especially where disturbed by the wheels,
and the broken shadows from the w'agon. are painted
285
— w <..• *
FREDERICK W . KOST: THE FORD AT EAST QUOCCE, L. I.
louis w. van sokst: THF FIRST SNOW
V'jfl
in a masterly way. The sky is luminous, the water is
limpid, and there is a feeling of the freshness of morn¬
ing atmosphere in the picture. (Another picture by
Mr. Kost hangs on the southwest corner panel in Gal¬
lery 32. See Official Catalogue.)
HOLLAND.
LOUIS W. VAN SOEST, The Hague, Holland.
Born at The Hague, 1867. Self-taught. Awarded
medals at World’s Fair, Brussels, 1897, and at the Ex¬
position Universelle, Paris, 1900; gold medal, Amster¬
dam, 1903; represented in the Gallery of the Luxem¬
bourg, Paris. Devoted to landscape painting and es¬
pecially successful in representations of winter.
The First Snow (Gallery 34).
A broad expanse of country with clumps of trees at
intervals—some of which retain their brown foliage —
under a light covering of snow already partly melted
and revealing gray-green and brown herbage. The sky
is light gray, with a deep-toned bank of gold-bordered
cloud along the horizon. There is fine textural qual¬
ity in the snow and landscape, and largeness of grasp
in the treatment of the composition as a whole.
(Other works by Mr. Van Soest are in Galleries 35
and 59. See Official Catalogue.)
UNITED STATES.
ASTON KNIGHT, Paris. France.
Born in Paris, of American parents. Pupil of his
father, Ridgway Knight, of Jules Lefebvre and of Tony
Robert Fleury. Awarded bronze medal, Exposition-
Universelle, Paris, 1900; honorable mention, Salon,
Paris, 1901; gold medal, Exposition-Universelle de
Reims, 1903; gold medal, Exposition at Lyons, 1904.
The Deserted Mill (Gallery 19).
(Painted on the banks of the Risle, France.)
Beside a river flowing into the forespace over a
stony bed. is an old mill with stone foundation and
287
ASTON
knight: the deserted hill
wooden superstructure, surrounded by tall weeds and
falling into ruin. In the distance at the right is an ex¬
panse of landscape. The sky, in which the moon lately
has risen, is permeated hy the crimson reflection of the
sunset, changing through gold and green to an ashen-
purple-blue. The stream, which reflects the varied
colors of the sky in the lights and shadows of its rip¬
ples, has a dominating tone of purple. Across it, the
moon’s rays are reflected in a silvery pathway. The
water has great limpidity, and its motion is well sug¬
gested. In certain respects the painting of the stream
suggests the work of the Norwegian painter, Thaulow.
The oicture is admirable in its color scheme.
juljan fai.at: a winter scene
AUSTRIA.
JULJAN FALAT, Cracow.
Born in 1853 in Tuliglowy, Galicia. Studied in
Munich as a pupil of Prof. Raab, and afterwards studied
in Rome. Tie was awarded medals at International
Expositions at Munich, Berlin, Dresden and Vienna;
the diploma of honor at the Exposition of Water Colors
in Dresden, and received a silver medal at the Exposi-
tion-Universelle, Paris, 1900. lie is the Director of the
Imperial Royal Academy of Arts in Cracow, is a mem¬
ber of the Academy of Fine Arts, Berlin, of the Berlin
289
r«KPt.RiCK j. whey: a romance
Artists’ Association, and the Polish Artists’ Associa¬
tion, “Sztuka.”
A Winter Scene. (In the Polish Artists’ Section of the
Austrian Government Pavilion.)
An expanse of snow-covered landscape, with a river
coming into the foreground, lies under a blue sky, late
in the afternoon. The snow is slightly tinged with a
glow of warm color in the sunlight, and this contrasts
most effectively with the soft, purple-blue of the
shadows. In realistic quality and in beauty of color,
the picture is noteworthy. (Other pictures by this
artist hang in the same gallery. See Official Catalogue.)
UNITED STATES.
FREDERICK J. WILEY, New York.
(No biographical details at hand.) Mr. Wiley has
painted some very creditable easel pictures of excep¬
tionally fine color, and considerable mural decoration.
A Romance (Gallery 16).
In a broad meadow, with tall grasses interspersed
with wild flowers, three young women and several chil¬
dren arc enjoying themselves. The foreground is in
cloud shadow, but the middle-distance and the far-away
green and purple hills are in bright sunshine. There is
a very luminous blue sky, with white, sunlit clouds.
The effects of sunshine and shadow are admirably ex¬
pressed, and in coloring the composition is brilliant,
varied, and of fine decorative quality. (Other works by
Mr. Wiley are in this gallery, and in Galleries 18, 19,
and 30. See Official Catalogue.)
UNITED STATES.
MARY FAIRCHILD MAC MONNIES (Mrs. Fred¬
erick W. Mac Monnies, Giverny, Vernon, Eure,
France
Born at New Haven, Connecticut. Pupil of the
Saint Louis School of Fine Arts, and of Carolus Duran
291
M\RY F. MAC MONNIES: WtNTER IANDM APE
WILLARD T. if KTCALF! TI' F i-\u t *:
and the Julian Academy, Paris. Medal, World’s
Columbian Exposition, Chicago, 1893; bronze medal,
Paris Exposition, 1900; bronze medal, Pan-American
Exposition, Buffalo, 1901; gold medal, Dresden, 1902;
Julia Shaw Prize, Society of American Artists, 1902.
Associate of the Societe Nationale ties Beaux Arts,
Paris; President of the American Women’s Art Asso¬
ciation, Paris, and Member of the Society of American
Artists, New York.
Winter (Gallery 19).
In the foreground is a snow-covered garden sur¬
rounded by a wall, with a circular fountain basin
in the center. Beyond, one looks across a valley —
through masses of leafless trees -toward purple hills
with masses of snow upon them. The pale yellow sky
is reflected by the snow and the ice in the fountain
basin, except as the wall and the tree trunks intervene,
and cast purple-blue shadows. The picture is an ex¬
cellent example of sane impressionism. (Another
painting by Mrs. Mac Monnies hangs on the same wall
with this. See Official Catalogue.)
UN ITED STATES.
WILLARD L. METCALF, New York.
Born at Lowell, Massachusetts. Pupil of Boulanger
and Lefebvre, in Paris. Honorable mention, Salon,
Paris, 1888; medal, World’s Columbian Exposition, Chi¬
cago, 1893; Webb prize, Society of American Artists,
1896; honorable mention, Exposition Universelle, Paris,
1900; silver medal, Pan-American Exposition, Buffalo,
1901. Member of American Water Color Society and
the “Ten American Painters.” Instructor in the Wo¬
man’s Art School, Cooper Union, New York.
The Convalescent (Gallery 19).
A sweet-faced young girl with dark brown hair lies
f>n a couch, propped up by pillows, reading a magazine.
She wears a dressing sacque of figured material — white,
green and orange, and an orange-colored scarf at the
293
ROBERT W. VOKNOH!
LITTLE LOUISE
k
throat. There is the effect of strong sunlight from a
near-by window. The face is in tender shadow, with
reflected light from the page of the book. The pillow
and counterpane are mostly in full warm light, but
where in shadow arc purple-blue in effect. The deep-
blue covered magazine makes seem even more trans¬
parent the blues of the shadows, which, of course are
modified somewhat also by reflected lights. The color
scheme is simple and is an exemplification of truth.
The subject is treated with tenderness and sympathy.
UNITED STATES.
ROBERT W. VONNOH, New York. (See biograph¬
ical note, page 47.)
Portrait, Little Louise (Gallery 31). Lent by Mrs.
William L. Elkins, Ashbourne, Philadelphia, Pa.
Portrait of a handsome child three or four years
old, with blue eyes and curly golden hair, sitting on a
blue sofa and leaning against an embroidered blue satin
pillow. The attitude of the child is easy and natural.
She wears a white dress, with white satin ribbon, and
holds a yellow rose in her lap. (Other works by Mr.
Vonnoh are in Galleries 3, 25 and 32. See Official Cata¬
logue.)
CANADA.
HOMER WATSON, D0011, Ontario, Canada.
Born at Honn, Waterloo County, Ontario, 1856.
Self-instructed. His picture, “The Pioneer Mill,” was
bought by the Marquis of Lome, when Governor-Gen¬
eral of Canada. Has exhibited at the Royal Academy
and New Gallery, London; Glasgow Institute, etc. Was
awarded gold medal at the Pan-American Exposition,
Buffalo, 1901. Member of the Royal Canadian Academy.
The Floodgate (Gallery 49).
An effective representation of a stormy day and wind¬
swept sky, with trees bending in the wind and the
295
‘S3
HOMER WATSON: THE FLOODGATE
H. R. M. AM El TA, QUEEN OF PORTUGAL: OXCART
waters in a reservoir lashed to foam. A man in the
foreground works to open the floodgate, and has partly
succeeded, as is shown by the surging waters below.
In the middle-distance, several cattle are huddled to¬
gether, the better to resist the fury of the storm. The
upper sky is filled with dark, rapidly-moving clouds,
while nearer the horizon the clouds are full of light.
The picture is dramatic in composition and is fine in
color. It immediately suggests the work of Constable
in theme, in treatment, and in robust technique.
PC )RTUGAL.
HER ROYAL MAJESTY, AMELIA, QUEEN OF
PORTUGAL, Lisbon.
Born in France, 1865.
An Ox Cart (Gallery 128).
On a dusty road, a man driving a pair of oxen
drawing a quaintly fashioned cart of primitive design,
with large wooden wheels, has stopped near a gateway.
The sun is near the meridian and the picture gives the
impression of a hot day. There is a clear, luminous,
tender blue sky.
HOLLAND.
(united states loan exhibit.)
SOLOMON VAN RUISDAEL (Deceased), Holland.
Born in Haarlem, about 1600; died in 1670. Brother
of J. Van Ruisdael, father of Jacob. He was a follower
of Esaias Van de Velde and Jan Van Goyen. He en¬
tered the Haarlem Guild in 1623, and was its president
in 1648. He was a painter of conscientious attention to
detail.
Landscape with Waterfall (Gallery 6). Lent by Mr.
Henry C. Frick, Pittsburg, Pennsylvania.
Down a rocky hillside a stream tumbles in a suc¬
cession of cascades and runs over a rocky bed in
masses of foam At the foot of the main fall the water
297
SOLOMON rvisdael: LANDSCAPE with waterfall
divides, a part passing into a ravine beyond a fore¬
ground hillock. Across the ravine, over a rustic bridge,
a shepherd drives a Dock of sheep. The tall bills are
covered with trees, among which, at the right, rises a
church spire. There is a blue sky, with dark clouds,
touched by the glow of a late afternoon sun. The
picture is most carefully painted, with that literal de¬
tail for which Ruisdael was noted. It is beautiful in
tone, and ranks as one of the most nearly perfect
specimens of the artist’s work.
ERNESTO DE LA CARCOVA: WITHOUT BREAD AND WITHOUT WORK
A R( IEXT1XE.
ERNESTO DE LA CARCOVA, B uenos Ayres.
Born in Buenos Ayres, Argentine Republic, 1867.
Studied painting in Rome, under Giaso and Grosso.
Returning to Argentine, he won the prize of the De¬
partment of Public Instruction, and was made Professor
of the Academy of Fine Arts of Buenos Ayres. Here
his work and influence were strong elements in the
development of the Argentine School of Fine Arts
He is Vice-President of the National Commission of
Fine Arts, Professor of Painting in the Academy, and
200
W. DE LEFTW 1C II DODC.E : SAINT IVKESSt
member of the Municipal Government of the City of
Buenos Ayres.
Without Bread and Without Work. (Gallery 95.)
Lent by the National Museum of Fine Arts, Buenos
Ayres.
Seated by a table, near a window, are a young man
and bis wife, the latter holding an infant in her arms.
The man, with clenched lists and desperate expression,
looks through the window towards a factory with tall
chimneys. The woman has a look of distress and
horror. Beside the man, on the table, lie a stonecutter’s
implements. There is a suggestion of impending
tragedy. The painting is forceful and effective. (Four
other examples of Mr. de la Carcova’s work are in
Galleries 95 and 96. See Official Catalogue.)
UNITED STATES.
WILLIAM DE LEFTWICH DODGE, New York.
Born at Liberty, Virginia, 1S67. Studied in Munich,
and with Gerome, in Paris. Awarded a gold medal at
a Competitive Prize Fund Exhibition, New’ York, 1888;
bronze medal, Exposition-Universelle, Paris, 1889;
medal, World's Columbian Exposition, Chicago, 1893.
Member of the National Society of Mural Painters.
Saint Ivresse (Gallery 3).
Saint Ivresse is not included among the saints dtdy
canonized by orthodoxy; she is an idyllic personage
belonging to the golden age of youth, roses, perfume,
dreams and irresponsibility. Mr. Dodge's composition
i> poetic in the extreme, ami is charming in color and
in decorative quality.
EXITED STATES.
CHARLES ROLLO PETERS, San Francisco, Cal¬
ifornia.
Born in San Francisco, 1862. Studied in the San
Francisco Art School, under Virgil Williams and Jules
Tavernier; at l’Ecole des Beaux Arts, Paris, under J. L.
301
CHARI ES HOMO PETERS: AFTER THE CRISi.II CAME
HENRY B. SNELL: A CORNISH HARBOR
Geromc, and at the Julian Academy under Boulanger,
Lefebvre and Cormon. Honorable mention, Munich,
1889. Mr. Peters has devoted much attention to paint¬
ing the old missions and adobe structures of the Span¬
ish period of California — particularly under effects of
moonlight, twilight and early morning.
After the Gringo Came (Abandonada) (Gallery 2).
Lent by the Lotos Club, New York City.
A wonderful expression of moonlight in summer. A
long, low-lying house, rudely constructed, with a broad
porch along its side and with a large tree at the nearer
end, evidently abandoned and falling into ruin, wears
an air of desolation and brooding silence that is en¬
hanced by the effect of the pale moonlight and accom¬
panying deep shadows, and that, on the other hand,
with its white-plastered wall and overhanging porch,
offers a most effective groundwork for the display of
the essential qualities of moonlight. The picture
breathes the very spirit of a moonlit night.
UNITED STATES.
HENRY B. SNELL, New York.
Born at Richmond, England. Gold medal, Art Club
of Philadelphia, 1896; first prize, Tennessee Centennial,
Nashville, 1897; honorable mention, Exposition Uni-
versellc, Paris, 1900; silver medal, Pan-American Ex¬
position, Buffalo, 1901. Member of the American
Water Color Society, and President of the New York
Water Color Club.
A Cornish Harbor (Gallery 2).
The composition shows a sea churned to foam, fill¬
ing a bay bordered by great masses of gray rock. In
the middle distance a small fishing boat, with brown
sails, struggles through the surf. The clouded sky is
lull of sunshine, and there is a feeling of moisture in
the air. The rocks, of gray yet broken coloring, are
realistic in character. The further point of land, show-
303
M\*k F I'll Ml A WATKR FROLIC
ing, through the haze, a grass-grown hillside, adds an
element of soft color delicately proportioned between
the coloring of the rocks and the water, and admirably
completing a harmonious scheme. (Other works by
Mr. Snell are in Gallery to, water colors, and in Gallery
17. See Official Catalogue.)
UNITED STATES.
MARK b ISHER, Hatfield Heath, Harlow, Essex,
England.
Born at Boston, Massachusetts, 1841. Studied at
Boston and Paris. Medal, World’s Columbian Exposi¬
tion, Chicago, 1893. Most of the artist’s life has been
spent in London, where he has achieved success, and
has had marked influence.
A Water Frolic (Gallery 4).
Few artists have represented the sparkle of sun¬
shine with such vividness and feeling of reality as Mark
Fisher. In this picture, the nude boys, just out of the
water, with bodies glistening brilliant white in the
sunlight and pale blue in the shadows are effective
accents in a composition in which every leaf, every
ripple in the water, every cloud in the sky, reflects the
brilliancy of the sun. To paint such a picture, so high
in key, with such scattered lights and lack of emphatic
shadow-masses and to preserve unity in all this va¬
riety is a task which few artists essay; but it is one
which Mr. Fisher has mastered. (Other pictures by
Mr. Fisher are in this gallery, in gallery 16 and in
gallery 23. Sec Official Catalogue.)
AUSTRIA.
ANTONIN HUDECEK, Prague, Bohemia.
Born at I.oucka, near Baudnitz, Bohemia. Studied
at the Imperial Royal Academy of Arts at Prague,
under Prof. Maximilian Pirner, and afterward under
305
Prof. Vacslav Brozik. Later lie went to Munich,
where he studied under Prof. Otto Seitz. Member of
the Prague Artists’ Association “Manes." Received
honorable mention, Exposition-l'niverselle, Paris, i«>oo.
The Pond at Eventide. (In the Bohemian Artists’ Gal
lery in the Austrian Government Pavilion.)
This is a very decorative landscape painted broadb¬
and simply, low in tone, in a scheme of grays, but w ith
plein air effect. At the right, the ground gradually
rises to the edge of a pool which mirrors a blue gray
sky and dark green trees on the opposite shore. (An
other picture by the artist hangs in the same gallery
See Official Catalogue.)
AN TONIN' HUPECrK; TIIE FIND AT rerviIKE
306
attention. The ground about the figures is gay with
flowers of many colors. The composition suggests an
illustration of an Arabian Nights’ tale. It is decorative
in the extreme, and is most charming in color. The
figure of the woman is beautifully drawn and the flesh-
painting is superb. (Other works by the artist hang in
the same gallery. See Official Catalogue.)
UNITED STATES.
EMIL CARLSEN, New York.
Born in Denmark. Studied in Copenhagen. Has
followed his profession in Paris, London and New York
settling in the latter city in 1872. Member of the
Society of American Artists and Associate of the Na¬
tional Academy. Noted for still-life pictures, and lat¬
terly’ for landscapes.
Late Afternoon (Gallery 32). Lent by .Mr. Augustus
Lukeman, New York.
The first impression one gains from this picture is a
realization of its simple dignity. A majestic oak on a
hilltop is relieved against a blue-gray sky in which a
mass of opalescent clouds is illumined by the sunlight.
The landscape, in cloud-shadow, is treated in a broad,
simple wav. yet suggesting close observation and mas¬
terly technique. The figure of a man in a blue blouse
gives a non-assertive, but valuable touch of color.
There is largeness of conception as well as of handling
in this work. In composition, drawing, values, and in
color, it is impressive. (Other pictures by Mr. Carlsen
hang in Galleries 2 . 14 and tq. See Official Catalogue.)
UNITED STATES.
W. L. LATHROP, New Hope, Pennsylvania.
Born at Warren, lillinois, 1859. Awarded Evans
prize, American Water Color Society, 1896; medal, Art
Club, Philadelphia. 1897; Webb prize, Society of Am¬
erican Artists, 1899; bronze medal, Pan-American Ex-
309
position, Buffalo, 1901; third prize, Worcester, Massa¬
chusetts, 1904, and third prize Carnegie Institute, 1904
Associate of the National Academy and member of the
New York Water Color Club.
Nancy (Gallery 2).
A young girl with light-brown hair, clad in a
loose white dress, is seen, seated, intently reading a
book. Her face is in profile. The flesh of the face
and arms is painted with great simplicity and charm,
and the white dress in its lights and tender shadows
is reproduced with realistic effect. The background
is a warm brown, well relieving the figure.
W. L. LATHROr: NANCY
310
MARCEL BASCHET: AMBROISE THOMAS
FRANCE.
MARCEL BASCHET, Paris.
Born at Gagny (Seine-et Oise), Prance. Pupil of
Boulanger and Jules Lefcbvre, Paris. He won the Prix
de Rome in i88.t; received a medal of the second class
at the Salon of 1889; and a gold medal at the Exposi-
tion-Universelle, Paris, 1900. Chevalier of the Legion
of Honor, 1898.
Portrait of Ambroise Thomas (Gallery 118).
Portrait of an elderly gentleman, of nervous type,
with keen, intellectual features, blue eyes and silvery
hair, seated in a square, maroon-covered velvet chair,
ROtAYEMON NISIU MIRA: FINE TREE AND STORKS
with head—rested on his left hand—turned to the left,
almost in profile. The right arm rests upon the right
chair-arm. The head is beautifully modeled, and is
painted in an adequate and sympathetic manner. The
character of the distinguished composer is well in¬
terpreted. (Ambroise Thomas, born 1811; devoted him¬
self to music from his childhood. He won a first prize
in the Paris Conservatoire for piano in 1829, a first prize
for harmony in 1830 and a first grand prize for musical
composition in 1832. He replaced Spontini as a mem¬
ber of the Academy of Fine Arts in 1851, and Auber
as Director of the Conservatoire in 187r . Among his
most noteworthy productions are the grand operas
“Hamlet,” “Francesca da Rimini, . L'lie Tempest” and
“Mignon,” several fantaisies, nocturnes, rondos and a
requiem. He was made a Knight of the Legion of
Honor in 1845; Officer of the Legion, 1838; Commander,
1868 and Grand Officer, 1881. Member of the Institute
of France, etc.)
JAPAN.
SOZAYEMON NISHIMURA, Kioto.
Born in Japan. Is one of the Imperial Japanese
Court artists, and lias been decorated with the green
ribbon by his Imperial Majesty.
Pine Tree and Storks, Embroidery on a Screen of
Four Panels (Gallery 134).
This representation of a pine tree with three storks
embroidered in silk is considered very nearly the per¬
fection of artistic embroidery. The plumage of the
birds is so worked that the threads catch the light
exactly as would the feathers of the living birds. It
is marvelous how accurately and realistically these
feathers are reproduced, l'lie treatment of the branches
of the tree, and the pine-needles and cones— a matter
of great complexity, in which the slightest error or
deviation from truthfulness to Nature would result in
the depreciation of the work—has been managed with
consummate knowledge, taste and skill. 1 his work
fully sustains the great reputation of the artist.
B. grunwald: watering horses
HUNGARY.
B. GRUNWALD, Budapest, Hungary
(No biographical data at hand.)
Watering Horses (Gallery 1041
A broadl.v painted picture, full <>t '.unlight The
grass and foliage have the full, rich greens of mid¬
summer. The horses drink from a small stream hidden
by the hillock in the foreground, the side of which has
been washed by recent rains and shows rich, warm
brown clay. The sky is blue, with light clouds Tin
effects of atmosphere and distance are very realistic
UNITED STATES.
EDWARD M. CAMPBELL, S ml 1 ou:'. •;
Born at Hannibal, Missouri. Pupil of the Saint
Louis School of Fine Arts, and the \cadcmie Julian.
Paris, under Boulanger and Lefebvre. For several
3 T 4
years instructor in llie Saint Louis School of Fine Arts.
Member of the Society of Western Artists.
The Flour When Daylight Dies (Gallery 32).
An effect of early twilight. The sun lias sunk below
the line of trees in the distance, and darkness is falling;
but there remains a glow in the changing sky which is
reflected in the stream which occupies the foreground.
Beyond the stream is a stretch of meadow extending
315
a. Mirorr: 01 n rornTAtif in pi e\’na
backward to a mass of trees. Two tall poplars in the
middlegrouiul rise against the bright sky with impres¬
sive effect. The composition is dignified, the color is
delightful, and the work is pervaded by poetic feeling.
BULGARIA.
ANDON M 1 TOFF, Sophia.
Born at Starazagora in 1862. Studied at the
Academy of Fine Arts in Florence. Awarded bronze
medal, Exposition Universelle, Paris, 1900. Professor
of the History of the Fine Arts in the National F'ine
Arts School at Sophia.
Old Fountain in Plevna (Gallery 127).
A number of women and children water carriers—
are gathered about the sides of a large square structure
of oriental architecture, such as is commonly found
built over springs in Northern Bulgaria. The costumes
mostly arc of primitive colors. In the middlegrouiul
there is a dwelling house with tiled roof, in a garden
surrounded by a high wall, above which one sees the
tops of trees. There is a bright blue sky with tleecy
clouds. There is excellent atmosphere in the picture,
and the effects of sunshine and shadow are admirably
expressed (Eight other paintings by Mitoff hang in
this gallery. See Official Catalogue.)
UNITED STATES.
W. VEKPLANCK BIRNEY, New York.
Born at Cincinnati, Ohio, 1S58. Pupil of the Massa¬
chusetts Norma! Art School, Boston, and the Bavarian
Royal Academy, Munich. Received honorable men¬
tion, Munich, 1900; bronze medal, Pan-American Expo¬
sition, Buffalo, 1901. Associate of the National Acad¬
emy, and member of the New York Water Color Club,
the Philadelphia Sketch Club, etc.
An Idle Hour (Gallery 18).
Seated on a sofa, near a window, in a handsome
apartment in which the prevailing tone is dark green,
317
W. V. • IEXIV AS lilt R HOUR
r v. sitchoff: a pleasant moment
is a young man in hunting costume— red coat, buff
breeches and top boots smoking a long pipe, and read¬
ing a book which rests upon a pillow beside him. On
a small table at the right, is a glass bowl filled with
flowers. A passage of sunlight through the curtained
window falls on the pillow with vivid effect, and is
slightly reflected upon the man’s coat and the front of
his face. The gradations of light and shadow are well
studied, and the composition is agreeable in color.
RUSSIA.
F. V. SITCHOFF, Saint Petersburg.
Member of the Saint Petersburg Society of Artists.
A Pleasant Moment (Gallery 132).
A young woman, half-reclining in a broad arm-chair
near a curtained window, with eyes half-closed, appar¬
ently gives herself up to agreeable meditation. She
wears a white blouse and black skirt. Her hair hangs
in two long ropes across her shoulders. In her left
hand she holds a bunch of pink roses. The whole com¬
position takes a yellow-green tone, from the color of
the curtain through which the light passes. The figure
is well drawn and modeled in graceful, natural attitude.
IK )LLAND.
WILLY MARTENS, Sheveningen, Holland.
Horn in 1856, in Java, of Hollandish parents. Pupil
of the Vcademy at Amsterdam, and of Bonnat, Paris.
Honorable mention, Salon, Paris, 1886. Member of
the International Jury, F.xposition Universelle, Paris,
1880; Societaire of the Societe Rationale des Beaux
Arts, Paris, France; Chevalier of the Lion of the
Netherlands, the Legion of Honor, and Saint Michael
of Bavaria. Commissioner ot l ine Arts for Holland at
the Louisiana Purchase Exposition, and Member of the
International Jury of Awards. Painter of portraits and
of landscapes with figures. Represented in the Royal
319
*»'I1 I V MAIIIK): iiaivutikc ivi
J. T. msros: touch
collection of Holland by portraits of It. M. Wilhelm
III, II. M. Queen Emma, and H. M. Queen Wilhelmina.
Harvesting Rye (Gallery 37).
Two peasant women in a field arc binding sheaves
and placing them in rows. There is a clump of trees
at the left, with cool shadows beneath them, and a
bright passage of sky dominates the right—all painted
with breadth and realistic effect. (Other pictures by
Mr. Martens hang in Galleries 33 and 36. See Official
Catalogue.)
PORTUGAL.
JULIO TEXEIRA BASTOS, Lisbon.
Horn in Lisbon. Pupil of Jose Malhoa. Honorable
mention, Gremio Artistico, Lisbon, 1902. Member of
the National Society of Line Arts, Lisbon.
The Five Senses— Touch (Gallery 128).
An old gray-bearded blind man in a brown overcoat
with cape, with hands outstretched, gropes his way
toward the observer. The figure expresses the trem¬
ulousness of old age as well as the hesitancy which
attaches to his affliction. The figure is well painted —
evidently a literal study. The foreshortening of the
hands and arms is admirable. (Other examples of the
artist s work, illustrating “the five senses,” hang in the
same gallery. See Official Catalogue.)
BELGIUM.
JEF. LEEMPOELS, Brussels.
Born at Brussels. Honorable mention, Salon,
Paris, 1893.
Friendship (Gallery 109).
Two men, well advanced in years, sit close together,
gazing directly into the eyes of the observer. The
older man, on the right, wears a red coat, and rests his
right hand on the shoulder of his friend, who, in his
3^1
JEF. LEEMPOELS: FRIENDSHIP
hands, clasps the left hand of his companion. The man
at the left is dark-bearded and wears a jacket of dark
blue-green. For carefully studied literal detail and the
minute realization of textures, it would be difficult to
go further. The work is exceedingly interesting as an
exemplification of literal imitation, including intcrprc
tation. (Other works by the same artist are in this
gallery. See Official Catalogue.)
UNITED STATES.
AMANDA BREWSTER SEWELL (Mrs Robert Van
Vorst Sewell), New York. See biographical note,
page 167.)
Portrait of Mrs. D. H. Morris and Children (Gallery
The mother, holding a babe in her lap with her left
arm, regards with tenderness a boy and little girl who
are entertaining the infant. The expressions in the
322
laces are life-like and charming. The lady wears a pink
robe with cream-colored lace; the infant is in white-
the little girl, holding a pearl rattle, is in pale lilac’
and the boy wears a sailor suit of white with a blue
collar, lie holds in his right hand a doll with light blue
dress and cap. The background is an old tapestry of
subdued rich colors. The flesh painting is admirable
(Other paintings by Mrs. Sewell are in this Gallery and
Gallery 16. See Official Catalogue.)
A. B. SEWELL: MRS. D. H. MORRIS AND CHILDREN
323
WILLEM MARIS: A DUTCH MEADOW
HOLLAND.
WILLEM MARIS, The Hattie, Holland
Born at The Hague. 1X44. Pupil of his brothers.
Jakob and Mathew Maris. Silver medals: Exposition
Universelle. Paris, 1889; World’s l air. Chicago. 1X94
Member of the international jury of awards. Exposition
Universelle, Paris, 1900. At the present tim< tl -
3^4
no painter in Holland who surpasses Willem Maris in
the representation of pastures and cattle, of light and
atmosphere.
A Dutch Meadow (Gallery 33).
There is vigorous freshness and brilliancy in this
picture, and the impression of atmosphere surcharged
with moisture. They sky is bright blue, with light
filmy clouds, and the verdure is of brilliant greens and
browns. Cattle in the foreground are painted with
firmness and effect. The picture, throughout, expresses
the artist’s joy in his work.
UNITED STATES.
EDWARD W. REDFIELD, Centre Bridge, Bucks
County, Pennsylvania.
Bom at Bridgeville, Delaware, 1868. Pupil of the
Pennsylvania Academy of the Fine Arts, Philadelphia;
of Bottguereau and of Robert-Fleury, Paris. Awarded
EDWARD W. REDFIELD: THREE BOATS
.125
CKORCK H. MO CORD! A LEDGE OF BASS ROCKS
(CopyriuM by Oorgf H. McCord.)
medal, Art Club of Philadelphia, 1896; bronze medal,
Exposition-Universelle, Paris, 1900; bronze medal, Pan-
American Exposition, Buffalo, 1901; Temple medal,
Pennsylvania Academy of the Fine Arts, 1903. Mem¬
ber of the Society of American Artists.
Three Boats (Gallery 32.)
An expanse of snow-covered landscape with a river
passing through it, upon the near bank of which three
boats arc drawn up, covered with snow, like the land¬
scape. The far side of the stream is of hilly country,
broken by brown and gray trees. There is a warm,
lead-colored sky, which is reflected by the stream, and
which affects the color of the snow. The picture is
line in tone and very harmonious in coloring.
UNITED STATES.
GEORGE HERBERT McCORD, New York.
Born, New York City, 1848. Pupil of Professor
Moses Morse. Medals, New Orleans Exposition, 1885;
Mechanics’ Institute, Boston, 1880; Samuel T. Shaw
Prize for drawing, Salmagundi Club, 1901. Associate
of the National Academy, and member of the American
Water Color Society
A Ledge of Bass Rocks (Gallery 16).
A turbulent green sea, pounding against a mass of
red-brown rocks in the foreground, hurls upward
clouds of white spray immediately blown seaward by
a heavy wind. White-capped waves roll toward the
rocks in rapid succession and with tremendous force,
presenting great variety in formation and movement.
Where a wave has receded, the water runs from the
rocks in an undertow, and meeting the breaking waves
moving forward, is violently churned into masses of
white foam. There is a gray-green sky, with warm-
toned clouds. Bass Rocks is an outlying section of
Gloucester, Massachusetts, and the picture was painted
not far from Cape Ann.
327
J. MC LURE HAMILTON: PORTRAIT OF RICHARD VAOX
(Copyright by the Pennsylvania Academy of the Fine Art«.)
UNITED STATES.
JOHN McLURE HAMILTON, London. I nglu.d.
Born at Philadelphia, Pennsylvania, 185.1 Pupil '>1
the Pennsylvania Academy ot the Fine \rts, the Royal
Academy at Antwerp, and l’Ecole des Beaux Art*.,
Paris. Honorable mention. Salon. Paris. 1X9^; gold
medal, Pan-American Exposition, Buffalo, 1901
Portrait of the Honorable Richard Vaux M< ( p
Lent by the Pennsylvania Academy of the Fine
Arts, Philadelphia.
The portrait shows the venerable lawyer seated in
his library, intently reading a volume which he hold
in his hand. The tables beside him are littered with
papers, pamphlets and legal documents, giving t
of bright browns and greens. The sturdy 1 gun , with
long, gray hair, white mustache and flowing side
whiskers, is commanding in expression, and is punted
with subtle, artistic feeling. (Richard Yaux was a
323
prominent lawyer, politician and philanthropist of Phil¬
adelphia; at one time Mayor of that city.) (Another
picture by Mr. Hamilton, “Mr. Gladstone at Hawardcn,”
hangs in Gallery 18. See Official Catalogue.)
UNITED STATES.
CARLE J. BLENNER, New York.
Born at Richmond, Virginia. Studied at the Yale
School of Fine Arts, New Haven, and in Paris under
W. A. Bouguereau, Tony Robert Fleury and Aman
Jean. Medal at Boston Art Club; third Hallgarten
Prize, National Academy, 1899. Mr. Blenner devotes
himself principally to genre and portraiture.
Repose (Gallery 32). Lent by Mr. Reid Northrop, St.
Louis
A young woman with brown hair, slightly draped
with a gauze scarf across her bosom, reclines upon a
CARLE J. BLENNER: REPOSE
329
V
FRANK DE HAVF.N: NIGHT
ARTHUR PARTON: EVENING CI.OW
green cushion reading from a small vellum-covered
volume. The intentness in the expression of interest
and the absolute unconsciousness of the presence of an
observer are admirably represented. A yellow rose
lying upon the pillow gives an effective color accent.
(Another picture by Mr. Blenner hangs in Gallery 28.
See Official Catalogue.)
UNITED STATES.
FRANK DE HAVEN, New York.
Born at Bluffton, Indiana, 1856. Pupil of George H.
Smillie, New York. Awarded the first Tnness Prize,
Salmagundi Club, 1900; and the Shaw Prize, Salma¬
gundi Club, iqot ; Honorable Mention, Pan-American
Exposition, Buffalo, 1901; silver medal, Charleston Ex¬
position, 1902. Associate of the National Academy.
Night (Gallery 3). Lent by the Salmagundi Club, New
York.
There is a feeling of silence and calm in this picture
-of mystery and charm also. The foreground, in the
shadow of the trees, is hazy and indistinct; the starlit
sky, while low in tone, is wonderfully luminous.
UNITED STATES.
ARTHUR PARTON, New York.
Born at Hudson, New York, 1842. Pupil of Wil¬
liam T. Richards, in Philadelphia. Gold medal, Com¬
petitive Prize Fund Exhibition, New York, 1878; Tem¬
ple silver medal, Pennsylvania Academy of the Fine
Arts, Philadelphia, 1889; honorable mention, Exposi-
tion-Universelle, Paris. 1889. Lotus Club Fund pur¬
chase, National Academy, 1896. Member of the
National Academy, and of the American Water Color
Society.
Evening Glow (Gallery 3).
In the foreground is a stretch of landscape gently
rising toward the right, with a pool near the center at
RICHARD r Mil I III OCK TO*
susan watkins: the 1830 girl
the left, under cloud shadow. Beyond, the distance, dot¬
ted with trees and houses, is in the full glow of the
sunset. The sky, of ashen gray, is filled with great
cumulus cloud masses, with crimson lights and purple
shadows.
UNITED STATICS.
RICHARD E. MILLER. I ’aris, France.
Born in St. Louis, 1875. Pupil of the St. Louis
School of l ine Arts, and of the Julian Academy, Benja¬
min Constant, and Jean Paul Laurens, Paris. Medal,
Salon, Paris, 1900; Wanamaker Prize, American Art
Association, Paris, 1900; bronze medal, Pan-American
Exposition, Buffalo, 1901; gold medal, Salon, Paris,
1904. His picture, "Four O’Clock Tea,” purchased by
French Government for the Luxembourg gallery, 1904.
Portrait of Doctor Gregory (Gallery 14).
A sturdy, well poised gentleman, with gray hair and
beard, seated, with face turned slightly to the left. The
face, primarily, i- a study of intelligently interpreted
character. The painting of the flesh is solid and lumin¬
ous, lint in values of light and shadow, and showing
admirable command of the technical resources of art.
(Other works by Mr. Miller hang in Galleries 31 and
4^. See Official Catalogue.)
UNITED STATES.
SUSAN WATKINS, Paris, France.
Born in California, 1875. Pupil of Rafael Collin,
Paris. Honorable mention, Salon, Paris, 1899; third-
class medal, 1901.
An 1830 Girl (Gallery 14)
Portrait of a very attractive young woman with blue
eyes and light brown hair, seated, facing the observer.
She wears a loose, white robe, with a border of white
down about the short sleeves, and a scarf of white
chiffon pinned across the shoulders and falling into the
XU
FRANK RUSSELL GREEN! WAYSIDE INN, WARWICKSHIRE
EDWARD H. POTTHAST! GATHERING SEAWEED
lap. On her head is a white bonnet, with black ostrich
feathers, tied with pale-green ribbons. Her right hand
rests in her lap. From her right wrist is hung a small
black and red bag. Her left hand rests upon the
handle of a parasol. There is a red background beyond
the figure. The picture as a whole is decorative in
character, is very agreeable in color, and has a certain
pronounced daintiness. It is painted with much re¬
finement.
UNITED STATES.
FRANK RUSSELL GREEN, New York.
Born in Chicago, Illinois, 1859. Studied in Paris, in
the Academic Julian, tinder Boulanger and Lefebvre,
and in the Colarossi School. Awarded honorable men¬
tion, Salon, i’aris, 1900, and Alexander Morgan Prize,
Salmagundi Club, New York, 1902, for water color
painting. Member of the American Water Color
Society, the New York Water Color Club, and Asso¬
ciate of the National Academy.
Way Side Inn, Warwickshire (Gallery 30). Lent by
the Lotos Club, New York City.
A quaint old English inn, with plastered wall and
green blinds, in the early morning sunshine. Two
horses, tandem, attached to a gray cart, stand in front.
A man with a red waistcoat leans against the wall.
Beyond the inn are red brick houses with vines; and
there is a suggestion of landscape at the end of the
street. The work is painted with realistic detail, is fine
in color, and has excellent atmospheric quality. (An¬
other picture by Mr. Green hangs in Gallery 32. See
Official Catalogue.)
UNITED STATES.
EDWARD H. POTTHAST, New York.
Born at Cincinnati, Ohio, 1857. Pupil of the Cincin¬
nati School of Fine Arts, and studied in Antwerp,
Munich and Paris. Awarded Clarke Prize, National
335
JOSEF ISRAELS! THE SKIPPER
ARTHUR I. KELLER! THE FINISHING TOUC HES
Wadcmy, 1899. Evans Prize, American Water Color
Society, 1901. Associate of tlie National Academy;
Member of the Society of American Artists, the Amer¬
ican Water Color Society, and the New York Water
Color Club.
Gathering Seaweed (Gallery .to). Lent by the Lotos
Club, New York City.
On the shore of a bay a man is loading with sea¬
weed a blue cart to which is attached a yoke of sturdy
oxen, it is a fresh, hazy morning; the air is filled with
moisture, and there is no visible line of demarkation
between the ;ea and the sky. There is light surf roll¬
ing in against a sloping stony beach. The animals are
drawn weli, and tin- sea and shore have been faithfully
studied. (Other pictures bv Mr. Potthast are in Gal¬
lery See Official Catalogue.)
HOLLAND.
JOSEF ISRAELS, I he Hague, Holland. (See bio¬
graphical note, page 21.)
The Skipper (Gallery 59).
\ man on horseback presses through the heavy surf
toward the shore his horse struggling through the
water and shrinking from the blasts of the wind and the
heavy mist. A man drops to the back of a horse from
the stern of a fishing boat apparently aground—at the
extreme right The sky and sea indicate a heavy storm.
I lu re art coppcr-eolorcd patches seen through the
rifts in tlie clouds, and the water, churned into foam
m tin 1 or ground, shows Hashing whitecaps in the dis¬
tance (Other paintings by Mr. Israels hang in Gal¬
leries 34 and 59.)
LX I TED STATES.
ARTHUR I. KELLER, New York.
Horn in New York City, i8<>6. Pupil of the National
Academy, under Prof. L. k. Wilmarth; and of Loefftz,
337
tanMHMl
KOZAX MIYACAWA: PORCKtAtW VASE
Kt ROKAWA YEISHO: GRAPFS REPOt'SSEE
in Munich. Awarded medal for water color, Philadel¬
phia Art Club, 1899; silver medal, Paris Exposition,
1900; bronze medal for drawings, Pan-American Expo¬
sition, Buffalo, 1901; Evans Prize, American Water
Color Society, 1902. Member of the American Water
Color Society, the New York Water Color Club, the
New York Architectural League, etc.; President of the
Society of Illustrators; Member of the Jury of Selection
for United States Section, Department of Art, Louis¬
iana Purchase Exposition.
The Finishing Touches (Gallery 10).
A young woman artist is engaged in painting the
portrait of her grandparents and studies them critically.
They are submitting to temporary martyrdom with the
best grace possible. The story is well told, the drawing
is excellent and the color is agreeable. For this work
the artist was awarded the Evans Prize at the Ameri¬
can Water Color Society's Exhibition, 1902.
JAPAN.
KOZAN MIYAGAWA, Yokohama.
Born in Japan. Considered to-day as the foremost
of Japanese potters, lias been honored by his Imperial
Majesty with the green ribbon and is one of the Im¬
perial Court artists. He has received the highest
awards at expositions at home and abroad.
Porcelain Vase Decorated With Plum Tree and a Line
of Poetry (Gallery 134).
Large bowl-shaped vase, of delicate Hesh-colored
ground, with the branch of a plum tree in blue, with
blossoms at intervals and with Japanese characters in
purple-gray scattered over both outside and inside of
the vessel. The poem recounts an event dating back
nearly a thousand years. The daughter of a very
famous poet, Kino Isurayuki — herself a poetess — had
in her garden a beautiful plum tree, for which she had
great affection. A plum tree in the royal gardens hav-
339
ing begun lo wither, the Emperor ordered that another
tree be selected to replace it. The tree in Isurayuki's
garden was selected, and was about to be taken when
the daughter of Isuravuki addressed a poem to the
Emperor expressive of her sadness at the removal of
the tree. This so impressed the Emperor that he or
dered the tree to he allowed to remain in the garden
of tlie poet. This vase is considered a work of the
highest order, both artistically and technically.
JAPAN.
YEISHO KUROKAWA, Tokio.
Born in Japan. Considered the most skillful metal
artist among his craftsmen; especially famous for Ins
hammered works.
Vase. Shibuichi, Grapes Repoussee (Gallerv 134)
This vase, aside from its noble form and its l»o)d.
simple, graceful, repoussee ornamentation, is ..f c\
quisite color and tine pntine, showing ver\ beautiful
iridescence. As into the composition of the metal
considerable silver entered, the result was a product
of great brittleness, very difficult to hammer out espe
eially in consideration of the si/e of the work
ot New England, and a most convincing representation
of Puritanism.
ITALY.
GIULIO MONTEVERDE, Rome.
Born at Bistagno, Italy. 1837. Professor at the
San Lucca Academy of Rome, etc., etc. While Monte-
verde must be considered one of the great sculptors
of our time, he represents Italian sculpture of the last
third of the loth century, rather than the purely mod¬
ern sculpture of Italy. He has been one of the most
prolific artists. Among his many important works
must be considered the monuments of King Victor
Emanuel at Rovigo and at Bologna, the Bellini monu¬
ment for Buenos \yres, Argentine Republic, etc., etc.
Jenner (Gallery 123).
This well known group which has become a classic
m realistic sculpture, embodies all the individual refine¬
ment and extraordinary ability which characterizes the
sculptor's work. !)r. Jenner testing the smallpox serum
on his own child is a work of imperishable qualities.
EXITED STATES.
JOHN BONOGHUE (Deceased).
Born in Chicago, 1853. Died. 1903. John Donoghue -,
career began under the greatest promise ot a brilliant
Iuture. and ended in desperate self-destruction. Be¬
ginning at the old Academy of Design, ot Chicago,
the results soon justified his going abroad to continue
his studies at 1 ’Ecole des Beaux Arts, in Paris. He
exhibited a head. “Phaedra,” in the salon of 1880.
Returning to Chicago, one of that city’s wealthy citi¬
zens, realizing the sculptor’s great artistic promise,
gav< him the means to go back to Europe. Estab¬
lishing himself in Rome, he produced a number of
remarkable works, including “Seraphim (Salon, 1884),
"Kyphros.” “A Boxer,” the “Hunting Nymph,” the
JOHN donoghue: YOUNG SGPHOCI ts
spite of their absolute realism, are thoroughly sculp¬
tural, a quality so seldom found in purely realistic
works. His “Columbus” and “Michel Angelo,” in
the Congressional Library, are all the more remark¬
able for the force with which they stand out from the
other statues made by our most eminent sculptors. But
Mr. Bartlett is not satisfied with conceiving, designing
and executing in clay his works, which are so varied
and numerous; but, like the sculptors of old, he handles
the marble, and does his own bronze casting and
“patines” -which he has developed, perhaps, to a higher
degree than even the most famous founders in the
world. Mr Bartlett received honorable mention at the
Salon, Paris, 1S87, and was a member of the Jury of
Awards at the Expositions Universelle of 1889 and 1900.
He received a gold medal at the Pan-American Exposi¬
tion, Buffalo, 1901, and a diploma of honor at the Turin
Exposition, 190^. He was made a knight of the Legion
of Honor, France, in 1895. He is a member of the
National Sculpture Society, the Society of American
Artists and is an Associate of the National Academy.
General Joseph Warren (Sculpture Court, Central
Pavilion).
The original bronze of this statue is erected in
Boston. It is a masterfully modeled statue and shows
the sculptor’s power of giving his work that mystic
feeling so essential to a real work of art. This statue,
in its quiet dignity, represents more than a faithful
likeness of General Warren it embodies the atmos¬
phere and spirit of our Revolutionary war.
EXITED STATES.
RICHARD E. BROOKS, Paris.
Born at Braintree, Mass., 1865. Pupil of T. H.
Bartlett in Boston, the Colarossi Academy, Aube and
Injalbert, Paris. Honorable mention. Salon, Paris,
1895; medal, 1899; gold medals, Paris Exposition, 1900,
and Pan-American Exposition, 1901. Member of the
351
RICHARD F.. BROOK >: (nLOMI CASS
National Sculpture Society. The love of form which
characterized Mr. Brooks’s taste when a mere boy finds
expression in every work of the matured artist.
Among his first commissions were a bust of Governor
Russell and one of Col. Gardiner Tuffs. Both turned
out so successfully that Mr. Brooks felt encouraged
to go to Paris, where he soon made his debut in the
Salon with his “Chant de la Vague”—a graceful female
figure which brought him an honorable mention. His
latest works are the bronze statues of John Hanson
and Charles Carroll, ordered by the State of Mary¬
land, and installed in the National Sculpture Gallery
in the Capitol at Washington.
Colonel Thomas Cass (Sculpture Court, Central Pa¬
vilion).
The natural pose, well-rounded composition, fault¬
less technique, and, above all, the extraordinary life
infused into this motionless figure, have brought its
author well merited honors, in the Expositions at
Paris and Buffalo The original statue stands in the
public gardens of Boston, and must be considered one
of the most dignified military figures produced in
America.
l’( )RTTGAL.
ANTONIO TEXEIRA-LOPES, Paris.
Born at Villa Nova de Gaya, pupil of Cavalier and
Barrias; awarded Grand Prix at the Paris Exposition
of 1900. Chevalier of the Legion d’Honneur, etc., etc.
Although Mr. Texeira-Lopes has not had opportunities
to produce public monuments, he must nevertheless be
considered one of the foremost sculptors of modern
Portugal.
The Widow (Gallery 128).
This group not only denotes a very high degree of
knowledge and ability, but brings before us an artist
whose sympathetic mode of expression powerfully
touches the sensitive chords of the human heart. The
353
A. TEXE1KA I OPES : THE WIDOW
11 VMS SCHULER: PARADISE LOST
silent, and therefore all the more intense sorrow of the
grief-stricken woman who has lost her husband and
protector is expressed in a masterly way. The fault¬
less execution and harmonious composition of this
work command strong admiration.
UNITED STATES.
HANS SCHULER, Paris.
Born in Alsace-Lorraine, 1874. Pupil of Verlet,
Paris; medal, Salon. Paris, igor. Winner of the Rinehart
prize, which enabled him to continue his studies in
Paris, Mr. Schuler has temporarily established himself
professionally in that city. His contributions to this
Exposition are of very high artistic quality, and thor¬
oughly bear the impress of the art atmosphere prevail¬
ing in the French section of the art world.
Paradise Lost (International Sculpture Pavilion).
Although this group shows the influence of French
workers, it is nevertheless an individual expression of
the sculptor, and denotes a thorough knowledge of the
human body, and great ability in handling. In compo¬
sition it is very harmonious, and the sentiment and
significance of the subject are so well expressed that it
stands as a line example of modern sculpture.
UNITED STATES.
HERBERT ADAMS, New York.
Born at West Concord, Vermont, 1858. Pupil of
Mercie. Honorable mention, Paris, 1888-89. Medal,
Columbian Exposition, 1894, and gold medal, Charles¬
ton. kjoj. Member of the National Academy, the
Society of American Artists, and of the New \ ork
\rchitectural League. Delicacy and exquisite finish are
the chief characteristics of Mr. Adams’ productions.
Whatever the nature of his work may be, it always
bears the stamp of refined taste and a cultured mind.
While he has produced a number of important statues,
HERBERT ADAMS: WILLIAM ELLER V CHANKING
American sculpture. Mr. BorglunYs art studies did not
begin systematically until he was twenty-seven years
of age. The following year he obtained a prize which
enabled him to go to Paris, where he soon attracted
widespread attention. With his series of bronze
statuettes and groups he struck such a new and truth¬
ful note in American art that Mr. Borglum may serenely
look forward to the verdict of posterity, which un¬
doubtedly will confirm the admiration of his contem¬
poraries.
Cowboy at Rest (Main Lagoon, Plaza of St. Louis).
This group, the enlargement of which stands at the
Grand Lagoon of the Louisiana Purchase Exposition,
is one of the most typical, as well as sculptural, of Mr.
Borglum’s works.
UNITED STATES.
CHARLES A. LOPEZ, New York.
Born at Matamoras, Mexico, 1870; came to the United
States in his early youth, and began his art studies in
the studio of J. Q. A. Ward, later going to Paris and
working under Falguiere and l’Ecole des Beaux Arts,
lie was awarded a gold medal at the Charleston Ex¬
position, 1902. He is a member of the National Sculp¬
ture Society, and the New York Architectural League.
Mr. Lopez is justlv considered one of the most prom¬
ising sculptors of the younger generation. His group,
“East Indies,” on the Dewey Arch, stood in the front
rank of that spontaneous, almost magical, product of
the New York sculptors. His “Mahomet the Law-
Giver" is on the Appellate Court in New York City.
11 is decorative work at the Pan-American Exposition,
and especially at the Louisiana Purchase Exposition,
further demonstrates the great ability of Mr. Lopez.
Sin (Sculpture Court, Central Pavilion).
The comparative absence of purely ‘exhibition
pieces” observable in this country makes it all the
c MARi fts a. tort;/: six
G> ROE GREY BARNARD: THE HEWER
nmrc gratifying to meet with as strong a work done
“fm art's sake” as Mr. Lopez’s "Sin.” In its quiet
and well-rounded attitude, this statue is a very strong
interpretation of a subject that has been treated from
time immemorial, and one which forcibly shows the
sculptor’s grasp of subject and dramatic power.
UNITED STATES.
GEORGE GREY BARNARD, New York.
Born, Bellcfonte, Pennsylvania. 1863. Pupil of
1 ‘Ecole des Beaux Arts, Paris. Gold medals, Paris
Exposition, iqoo, and Pan-American, 1901. Associate
of the Paris National Society of Artists. Mr. Barnard’s
best-known work is the marble group, “The Two.Na¬
tures," at the Metropolitan Museum, New York. It
is a weird and mystic representation of man’s dual
nature man fighting with the inner man, conquering
the baser instincts of his nature. While this plastic
representation of the abstract may not be perfectly
intelligible to the masses, it still is a work of extraor¬
dinary power and ability.
The Hewer (Sculpture Court, Central Pavilion).
'I bis heroic-sized figure, a primitive man chopping
wood with a stone hatchet, shows, beyond all else, a
breadth of treatment and a carrying power that prob¬
ably is not equaled in any nude figure produced in our
country.
UNITED STATES.
CHARLES H. NIEHAUS, New York.
Born in Cincinnati, in 1855, of German parentage,
he was put to making his own living, as a stone cutter,
at an early age; but his impulse for something higher
soon made him abandon his “trade and enter the Cin¬
cinnati School of Design, after which he went to
Munich to continue his studies. Upon his return to
\merica lie was commissioned to model a statue of
President Garfield, and ever since liis prolific hand and
CHARLES H. KIRHAUS: HAHNEMANN
brain have produced incessantly. “Hooker” and “Dav¬
enport,” for the State House of Connecticut; “Moses”
and “Gibbon” for the Congressional Library; “Farra-
gut and Lincoln for Muskeegon, Michigan, and the
Drake Memorial for Titusville, Pennsylvania, are but
a few of his long list Of works. Mr. Niehaus is dis¬
tinctly a monumental sculptor, a quality that shows in
every work, whatever its nature may be. It is never
over-graceful nor emotional; neither is it playful or
very tender, but is always calm, dignified and of a very
high sculptural quality. Mr. Niehaus was given gold
medals at the Pan-American Exposition, Buffalo, 1901,
and at the Charleston Exposition, 1902. He is a mem¬
ber of the National Sculpture Society, the New York
Architectural League, and is an associate of the Na¬
tional Academy.
Hahnemann (East Vestibule, Central Pavilion).
This statue, which is the central figure of the Hahne-
man monument erected in Washington, may well
claim to be one of the finest portrait statues in the
country. The sculptor’s choice of the large and flow¬
ing garment concealing the modern dress was most
felicitous. The simple treatment of the masses, the
dignified pose of the meditating scholar, and the ad¬
mirable unity and execution of the entire work, make
it one of the most effective monuments in America.
JAPAN.
KANEJIRO KANEDA, Tokio.
As Japan has arrived at a point where the designa¬
tion of “old” and “new” schools becomes legitimate,
Mr. Kaneda may be classed as a representative of the
ancient traditions of Japanese art.
Hunter (Gallery 130).
The admirable rendition of the hunter’s caution in
crossing a mountain stream, places this ivory statue
among the remarkable works of the art exhibit. In its
accurate execution of minute detail, this carving stands
365
KAN IJ I HO KSSfU\ TIIE HOWTEK
BORTFSON !
CHANCELLOR
OXENSTIERN A
in direct contrast with the western mode of representa¬
tion, in which minute detail is intentionally eliminated
so as to emphasize the most characteristic feature of
the model. Whichever principle may he right, the
truthfulness of the Japanese sculptor and his marvelous
skill as a technician stand unparalleled.
SWEDEN.
JOHN BORJESON, Stockholm.
Born at llalland, Sweden, 1835. Studied in Rome
and Paris. Professor of the Art Academy of Stock¬
holm, etc., etc. Mr. Boerjeson’s work, which almost
covers a period of half a century, is characterized by
a great sense of beauty, and a strong renaissance feel¬
ing. Of his many important works, mention must he
made of his colossal statue of the Norwegian poet Hol-
berg, erected at Bergen; the monument to the his¬
torian Geyer, at Upsala, and many others.
Statue of Chancellor Oxenstierna (Gallery 44).
This statue of the great Swedish statesman is con¬
sidered one of the sculptor's best works. The dignity
and importance of Oxenstierna, who so ably adminis¬
tered Sweden during the thirty years war, when his
King and master. Gustavus Adolphus, fought Sweden’s
battles, is rendered with great ability, and proclaims
the sculptor’s high professional standing.
IIULGARIA.
BORIS SCHATZ, Sophia, Bulgaria.
Born at Varno, Russia. Pupil of Antokolsky and
Konnon. Awarded silver medal at Paris Exposition
of 1900 Mr Shatz, although a Russian by birth, has
cast his lot with the small group of art pioneers who
are bringing Bulgaria so strongly to the notice of the
art world Banded together in Sophia under the pro¬
tection of their enlightened and art-loving Prince Fer¬
dinand, they are courageously braving the hardships
tolls SC IIATX : kl'SSMX SO 1 PIER
INSAI ABE: CHILD CHASING DRAGON FLY
and difficulties inherent to the development of a na¬
tional art in a new country, where the material needs
of man overshadow his cravings for the beautiful.
A Russian Soldier (Gallery 127).
A Russian soldier of the army of liberation from
the 1 urkish yoke, of the war of 1876, feeding a starving
Bulgarian child. While there is no monumental possi¬
bility in such a subject, the emotional side of it is most
powerful, and the sculptor is to be congratulated for
having given it such forcible expression.
JAPAN.
INSAI ABE, Tokio.
This young sculptor, who is considered one of the
most promising artists of Japan, represents the new
school of that country. Mis technique is so strongly
western that one can hardly believe it to be the work of
a Japanese, especially of one who has never left his
native soil.
Young Boy Chasing a Dragon-Fly (Gallery 130).
There is perhaps no other work that conveys to the
western mind a truer impression of Japanese childhood
than this charming bronze statuette, in which the
artist has been able to couple a vastly improved ren¬
dition with the original spirit of subject and country.
UNITED STATES.
CHARLES GRAFLY, Philadelphia.
Born in Philadelphia, 1862. Pupil of the Pennsyl¬
vania Academy of the Fine Arts, Philadelphia, and of
Chapu and Dampt, Paris. Honorable mention, Salon,
Paris, 1901; medal, Columbian Exposition, 1903; silver
medal, Atlanta Exposition, 1895; gold medals, Paris
Exposition, 1900; Pan-American Exposition, Buffalo,
1901, and Charleston Exposition, 1902. Member of the
National Sculpture Society, the Society of American
Artists, the New York Architectural League and asso-
369
CHARLES GRAFLY
SYMBOL OF LIFE
< iato of the National Academy. Symbolism in its high¬
est potentiality is one of the strongest characteristics
in Mr. Grafly s work. Whatever the subject, his con¬
ception is always such as to make an appeal to the
beholder s intellect. One of his latest works, “Truth,”
a nude seated figure for the permanent art building at
the St. Louis Exposition, illustrates to a superlative
degree the charm of what may be called mellowness
of modelling, of which Mr. Grafly is a master.
Symbol of Life (Sculpture Court, Central Pavilion).
1 he superb modeling and simplicity of handling
of this group must command the respect of all who
know anything of sculpture. The symbolism, as ex¬
pressed in the man and woman walking together
through life, the woman holding a globe from which
springs a stalk of wheat, the man a primitive scythe,
is so clear and convincing that it can not fail to leave
a deep impression upon the mind.
UNITED STATES.
HERMON A. MAC NEIL, New York.
Horn in Chelsea, Massachusetts, 1866. Pupil of the
Massachusetts Normal Art School, in Boston; Chapu
at the Academie Julian, and Falguiere, at l’Ecole des
Beaux Arts, Paris; won Roman Rhinehart Scholarship,
i8p5~'y9. Awarded silver medals, Atlanta, 1895; Paris,
1900; gold medals, Pan-American Exposition, 1901;
Charleston Exposition, 1902. He is a member of the
National Sculpture Society, the Society of American
\rtists and the New York Architectural League.
\lthough an Easterner by birth and training, Mr. Mac
Neil must be considered to-day one of the strongest
interpreters of the Red man, the plastic representation
uf whom ought to play a very important role in the
national art of this country. Mr. MacNeil’s ability,
however, is not limited to the representation of the
Indian. At the Pan-American Exposition, and, more
especially, at the Louisiana Purchase Exposition, his
3/i
CYORCY VAftTMill: HUNGARIAN COWBOY
KA.r>H vow sumbusth: field marshal radetzky
ii'noiiK Austrian sculptors in the same bold relief as
Mans Makart stood among the Austrian painters. Of
his most important works, mention must be made of
his ‘ Empress I heresa,” in Vienna, which is one of
the largest and most elaborate monuments in the
world; the Maximilian monument in Munich, one of
his earlier works, and above all, his Beethoven monu¬
ment at Vienna, which is one of the most nobly con
ceived monuments in existence.
Equestrian Statue of Field Marshal Radetsky (Gal¬
lery 68).
I he portrayal of this veteran commander of the
Austrian armies is a work of great dignity, and shows
the consummate skill and artistic knowledge of this
great sculptor. The monument stands in front of the
war office in Vienna, where it forms a landmark in the
beautiful capital of Austria.
UNITED STATES.
CYRUS E. DALLIN, lb iston.
Born at Springville, Utah, 1861. Pupil of Chapu
and Dampt, in Paris. Honorable mention, Salon,
Paris, iXoo; medal, World’s Columbia Exposition, Chi¬
cago, 1X03: silver medals, Boston, 1805; Exposition
Univcrselle, Paris, 1000, and Pan-American Exposition,
Buffalo, too.}. Member of the National Sculpture So¬
ciety, the New York Architectural League and the
Society of \rts, of London. There is something dis¬
tinctive in the qualities of Mr. Dallin’s work that no
other sculptor has equaled, in treating the aboriginal
man of this continent. Mr. Dallin knows the Indian,
his nature and habits better than any other sculptor,
and while he has studied in Boston and Paris, he has
preserved the best of his Western spirit. Although he
has produced a number of ideal and historic statues,
such as Apollo and Hyacinthus, Awakening of Spring,
and Sir Isaac Newton (Congressional Library), the
sculptor’s decided pre-eminence lies in his wonderful
375
CYRUS I. PAl.LIN: MFDICISt MAN
cuables samuel: uylenspiegel and nele
representations of the Red man—for such products
as "The Signal of Peace" (Lincoln Park, Chicago,)
and “The Medicine Man” (Fairmount Park, Philadel¬
phia), are works that insure Mr. Dallin a very high
place among American sculptors.
The Medicine Man (Sculpture Court, Central Pavilion).
I he commanding pose, its convincing realism, its
intensity, and, above all. its true spirit of the subject,
make this statue one of the most notable examples of
American sculpture.
BELGIUM.
CHARLES SAMUEL, Brussels.
Born in Brussels, i860. Pupil of Van der Strappen,
and author of several notable monuments in his coun¬
try. Decorated by the King of Belgium and other
potentates, lie has been awarded gold medals at Brus¬
sels, Paris, Dresden, Munich, etc., etc.
Uylenspiegel and Nele (International Sculpture Pa¬
vilion).
This chaining group is part of the monument erected
to De Coster — a prominent Flemish writer who has
written the story of Uylenspiegel, a legendary figure,
embodying the spirit of the people of Flanders as it
existed in the time of Charles V. Uylenspiegel stands
as a type of the easy-going overgrown boy, full of mis¬
chief, half soldier, half minstrel, to whom life was a
perpetual comedy. Nele, his sweetheart, on the other
hand, embodies a sentimental side of the people’s lives.
This group is a work of very brilliant execution, and
forcibly conveys a spirit of that popular legend of the
Flemish people.
UNITED STATES.
GUTZON BORGLUM, New York.
Born in California in 1867. Pupil of San Francisco
Art Association, and Julian Academy, of Paris. Special
gold medal, Western Art Association. Member of
377
l.l T/ON none; CM' THF HORSES OF MOMEDIS
Socicte Nationals des Beaux Arts, Paris. In these
days of specialization, when the demands are such that
only a few succeed in even one direction of human
activity, it is unusual that a man who is mastering two
branches of art attains such signal success as has Mr.
Borglum. Although his sculpture is of more recent
date than his painting, he has produced a number of
small bronzes, such as “The Boer,” “Rnskin,” etc., which
have attracted and merited a great deal of attention.
The Horses of Diomedes (Sculpture Court, Central
Pavilion ).
This very striking group is one of Mr. Borglum’s
lirst large and complex pieces. 'The mythological story
ot the son of Mars and Cyrene, who was celebrated for
hi> mares, which he fed on human flesh, is very bril¬
liantly illustrated by this work. In conception it is
most original, exceedingly well composed, and the
execution shows not only great ability in handling, but
also an extensive knowledge of the horse.
I’XITFJ) STATES.
JOHN J. BOYLE, New York.
Born in New York, 1852. Pupil of Pennsylvania
Academy of the line Arts, under Thomas Lukins, and
1 ’Ecole des Beaux \rt>, Paris, under Dumont, Thomas
and E Millet. Medals, Columbian Exposition, 1893;
Paris Exposition, 1000, and Pan- \merican Exposition,
1 go 1. Member of the National Sculpture Society, the
New York Architectural League, the Soeiete des Art¬
istes Eraiupus. etc. Individuality and rugged—almost
primitive strength seem to be the chief characteris¬
tics of Mr. Boyle's work. Ilis contributions to Ameri¬
can art are so numerous and of such great simplicity
that they can justly claim a considerable share in the
development of American national art. “The Alarm,”
commemorating the Ottawa tribe of Indians, placed
in Lincoln Park. Chicago, is one of Mr. Boyle’s im¬
portant works, and certainly deserves all the praise
.379
JOHN J. BOYLE: THE STONE AGE
that has been Riven it by the most competent critics.
At the Pan-American Exposition, Mr. Boyle’s “Savage
Age attracted a great deal of well-merited attention.
This magnificent group not only bore the full imprint
of the mind that created "The Alarm’’ and “The Stone
Age, but it also showed all the qualities of the ma¬
tured artist.
The Stone Age (Sculpture Court, Central Pavilion).
A work ot masterly conception and great beauty.
1 he original group stands in Fairmount Park, at
Philadelphia, and is considered one of the finest sculp¬
tural decorations of that magnificent park.
ARGENTINE.
ARTURO DRESCO, Buenos Ayres, Argentine.
Born, Buenos Ayres, 1875. The recent development
of Argentina’s art accounts for the fact that nearly all
the men representing it are comparatively young.
Among these, Mr. Dresco is beginning to play an im¬
portant role in the artistic movement of his country,
lie began his studies in the Art Academy of Buenos
Ayres, and continued them at Florence, under the emi¬
nent sculptor Passaglia. Returning in 1899, he com¬
peted for and won the Academy prize, which enabled
him to continue liis studies abroad, where he pro¬
duced a number of works which are now in the pos¬
session of the Art Museum of Buenos Ayres.
Renunciation (International Sculpture Pavilion).
\ marble of exquisite delicacy, embodying the
pathos of youth’s self-effacement.
UNITED STATES.
KARL F. BITTER, New York.
Born, Vienna, Austria, 1867. Pupil of the \ ienna
Art Academy and ot Edmund Tleller. lie was awarded
a silver medal, Paris Exposition. 1900, gold medals,
Pan-American Exposition, 1901, and Charleston Expo-
381
ARTURO DRESCO! RENUNCIATION
KARL F. BITTER: THAN AT< »S
sition, 1902. lie is a member of the National Academy,
(lie National Sculpture Society, the Society of American
Artists, and the New York Architectural League.
I here is perhaps no other living sculptor who equals
Mr. Bitter as a decorative artist. As director of sculp¬
ture at the Pan-American and the Louisiana Purchase
Impositions, Mr. Bitter’s influence has been very far-
reaching; for, although his actual work was necessarily
limited, the great artistic success and unity of the sculp¬
tural work of these Expositions is due to his remarkable
conceptive faculty, executive ability, and thorough
knowledge of what can and what can not be done in
sculpture.
Thanatos (Sculpture Court, Central Pavilion).
Inspired by William Cullen Bryant’s poem Thana-
topsis, the sculptor has produced a very impressive
mortuary monument by representing the Greek god of
death like sleep as the symbol of peaceful demise.
UNITED STATES.
BESSIE POTTER VONNOH (Mrs. Robert W. Von-
noh), New York.
Born, St. Louis, Mo., 1872. Pupil of the Art Insti¬
tute of Chicago. Bronze medal, Paris Exposition,
1900. Member of the National Sculpture Society. Mrs.
Vonnoh’s position in art is unique. Her work might be
called miniature sculpture, but it is far greater in im¬
portance than in size. It is a most individual expres¬
sion, and has what the French so aptly call “cachet”
in so marked degree that one can not mistake the
charming little figurines for the work of any one else,
for no otic else does such work so exquisitely. Be¬
ginning with small heads, mostly portraits of willing
friends, disposed to be "done in clay, she gradually
extended her field until she has made for herself a
national reputation with such charming works as “The
Duet," “A Dancing Girl,” ‘ A Girl Reading,” etc. But
it i< not onlv by her exquisite work that Mrs. \ onnoh
commands admiration; she deserves credit for know-
mm
BESSIE POTTER VoNKoll: M f T il l* »IOOl>
ing in which direction her strength lies and for resist¬
ing the temptation to undertake work on a larger scale.
Motherhood (Sculpture Court, Central Pavilion).
Fliis exquisite group has had, perhaps, more gen¬
eral admiration than any other recent piece of sculp¬
ture. It is indeed a work of such charm, grace and
genuine tenderness as only a woman could produce.
CARI.O FONT A NO : FARJNATA DEGLI UBEHTI
ITALY.
CARLO FONTANA,
Born at Sarzano, Italy, 1872. Pupil of Ettore Fer¬
rari, Rome. Gold medal at Venice Exposition, 190.3.
Mr. Fontana represents modern Italian sculpture in
its most fortunate aspect. The great advance in viril-
38s
ity and thought which lias been noticeable so strongly
for the last ten years in Italy amounts almost to a
second renaissance, and the work of Mr. Fontana justly
may be considered very representative of Italy’s re¬
juvenated sculpture.
Farinata Degli Uberti (International Sculpture Pa¬
vilion).
This magnificent example of life and strength, hewn
in marble, represents one of Dante’s weird personages
personifying the rebellious spirit of human nature.
Index of Ar tists Represented
Abe, Insai...Japan
Adams, Herbert.United
Aid, George C.United
Alexander, John \V.United
Allen, Thomas.United
PAGE.
. 369
States. 355
States...... 163
States. 43
States. 271
Amelia, H. R. M., the (Jucen... Portugal . 297
liner, William J.United
Pail, Joseph.France
Jlarnard, George Grey.United
liartlett, l’aul Wavland.United
Itaschct, Marcel.France
llastiin-Lepage, Jules.France
States. 243
. 19
States. 363
States. 349
. ?11
(U. S. Loan),. 36
Iiastos, Julio Tcxiera.
Portugal . 321
States. 257
States. 69
States. ...'. 221
States. 79
States. 317
States. Ill
States. 3SI
States. 329
llaylos, /Cclma.United
Beaux, Cecilia.L 7 nited
Beckwith, J. Carroll.United
Benson, Frank W .. United
Itirncy, W. Verplanck.United
Pishing. Henry S.United
Bitter, Karl T. F.United
Blenner, Carle J ....United
Htommers, Bernardus J .Holland . 59
Plum, Robert F".United States. 63
Bdckiin, Arnold.Switzerland (U. S. Loan). 11
Ponheur, Maria Rosa.F'rance (U. S. Loan). 103
Ponnat, L. J. F.France . 153
Borglunt, Gutzon.United
Rorglum, Solon.United
Rdrjeson, John.Sweden
Boyle, John J.United
Breckenridge. 11 ugh H . I nited
Brooks, Richard F7.^ nited
Brown, J. G.United
Butler, Howard Russell.* nited
Campbell, Edward M.United
Caprile, Vincenzo...Italy .
Carcova, Ernesto dc la.Argentine ...
Carlsen, Eniil.. United States.
States. 377
States. 353
. 367
States. 379
States. 161
States. 351
States. 109
States. 115
States. 314
. 227
. 299
....235 and 309
Carlos I. H. R. M„ the King. .. Portugal . 253
Cazin, Jean Charles.France (U. S. Loan). 173
Chapman, Carlton T.United States. 249
Chase, Harry .United States. 65
Chase, William M.United States.
Church, Frederick S.United States.
Clarkson, Ralph Elmer...,-United States.
Coffin, William A.UoJtri Stale*.
Collivadino, Pio.Argentine .
Columbano, Bordallo Pinhciro. . Portugal .
Cooi>er, Colin Campbell.United States.
Corot, Jean llaptiste Camille... France (U. S. Loan).
Courtens, Franz.Belgium.15
Cotise, E. Irving.United States.
Couture, I . 1 S Loan).
Cox, Louise (Mrs. Kenyon Cox 1 United States.
Crane, Bruce.United States.
Curran, Charles C...Lnitcd States.
Dallin, Cyrus E.United States. .
Daubigny, Charles Francois. . France ( U. S. Loan).
Davis, Charles 11.United States.
De Rock, Th£ophile.Holland .
De Haven, Frank.United States.
Dewey, Charles Melville.United States.
Diaz. N. A', de la Pena.France (U. S. Loan t .
DjcnyaetT, L. A.Russia .
Dodge. William de Leftwich... United States....
Donoglnie, John.United States.
Dresco, Arturo.Argentine .
and
Stales.
States.
(17, &
States
States.
States.
Loan).
States.
States.
Dufner, Edward.United
Du Mond, Frank Vincent.United
Duprg, Jules.France
Duveneck, Frank.. United
Eakins, Thomas.United
Eaton, Charles Warren.United
Fahres, Antonio.Mexico
Falat, Juljan.....Austria
Farazyn, Eldgard.Belgium
Fisher, Mark.United
Florian, Walter.United
Fontana. Carlo.Italy .
Foster, Ren.United
French, Daniel Chester.United
Gaho, Hashimoto.Japan .
Gay, Edward.. United States.
Gejo, Masao.Japan .......
Giliford. Robert Swain.United States.
Ginsberg, E. N...Russia ......
Grafly, Charles.United
Green, Frank Russell.United
Griinwald, B.Hungary .
Gruppe, Charles P. United States.
Guy. Seymour J.United State* ...
Hals, Frans.Holland (U. S. Loan)
States.
States.
States.
States.
•ACE.
67
233
5 7
181
111
145
183
39
219
213
85
266
223
133
375
67
225
123
331
261
61
191
301
345
381
207
279
135
147
2.»9
187
179
289
267
305
237
3*5
201
347
157
183
283
105
367
369
335
; i i
:
229
87
388
Hamilton, John McLure...
Hampel, Walter .
Harris. Robert .
Hassam, Childe .
Hayashi, Kuhioye ..
Henri, Robert .
Henry, Edward L .
Hitchcock, Lucius W .
Homer, Winslow .
Howe, William II .
Hubbell, Henry S .
Iludecek, Antonin ...
In ness, George.
Israels, Josef .
Ivanoff, M. F .
Jacque, Charles Emile.
Johansen, John C .
Johnson, Arthur .
Jones, Frank C .
Jones, Hugh Bolton .
Jongers, Alphonse .
Kaneda, Kanejiro.
Keller, Arthur I ..
Kendall, William Sergeant....
Knaus, Ludwig.
Knight, Aston .
Knowles, F. McGillivray..
Kost, Frederick W .
Kuehl, Gotthard.
Kurokawa, Yeishn.
Lathrop, W. L .
Laurenti, Cesare.
Lavcielle, Eugfine.
Laszlo, F. E.
Lcempttels, Jef .
Lefehvre, Jules Josef.
Lepine, Stanislas.
Lhcrmittc, L£on Augustin.
Liljefors, Bruno.
Lockwood, Wilton.
Loeh, Louis.
Lopez. Charles A .
Low. Will H ...
MacChesney, Clara T .
McCord. George Herbert .
Me Ev en, Walter.
Mcl.ane, M. Jean.
MacMonnies. Mary F. (Mrs,
Frederick W. MacMonnies) .,
MacNeil, Hermon A .
PACE.
United States. 328
Austria . 307
Canada . 779
United States. 155
Japan . 115
United States. 275
United States. lyy
United States . icy
United States. 99
United States.123 and 271
United States. 255
Austria . 305
United States . 95
Holland . 21 and 337
Russia . 95
France . 137
United States . 205
United States . 261
United States... 253
United States. 203
United States . 241
Japan . 365
United States . 337
United States . 131
Germany (U. S. Loan). 107
United States . 287
Canada . 231
United States . 285
Germany (U. S. Loan) . 185
Japan . 3 40
United States . 309
Italy . 233
France (U. S. Loan) . 239
. Hungary . 77
Belgium . 321
France . 177
, France . 26!)
. France . 125
.Sweden. 177 and 2h9
.United States . 217
.United States . 245
. United States. 361
.United States . 145
United States. 195
, United States . 327
. United States.165 and 229
. I 'ni'.ed States . 279
United States. 291
United States . 371
SMITHSONIAN INSTITUTION LIBRARIES
PAGE.
.... 73
. . .. 41
.... 324
.... 319
Holland (U. S. Loan)....
.... 121
United States.
.... 139
Austria .
. . . . 89
V'ranee (U. S. Loan).
.. . . 17
United States.
. .. . 71
Holland .
.... 169
United States.
... . 293
United States.
.... 333
France (U. S. Loan).
. ... 23
3 9088 01068 5600
Mancini, Antonio .
Maris, Jakob .
Maris, Willem .
Martens, Willy .
Mauve, Anton .
Maynard, George W .
Mehoffer, Josef Edler von..
Meissonier, J. L. E .
Melchers, Gari J .
Mesdag, Hendrik Willem...
Metcalf, Willard L .
Miller, Richard E .
Millet, Jean Francois.
Mitoff, Andon .Bulgaria .
Miyagawa, Kozan .Japan .
Monteverde, Giulio .Italy .
Moschowitz, Paul .United States.
Mosler, Gustav Henry .United States.
Mrkvitchka, Ivan .Bulgaria.i'-'u and
Munk&csy, Mihaly de.Hungary .
Namikawa, Sosuke .Japan .
Nicoll, James Craig .United
Niehaus, Charles H .United
Nishimura, Sozayemon.Japan
Ochtman, Leonard .United
Palmer, Walter L .United
Parton, Arthur.United
Pellizza, Giuseppe.Italy .
Perrine, Van Deering.United
Peters, Charles Rollo.United
Poore, Henry R .United
Potthast, Edward H .United
Prellwitz, Henry.I'nited
Puvis-de-Chavannes, Pierre.France
Redfield, Edward W .United
Rehn, F. K. M .United
Rembrandt van Ryn .Holland
Repin, T. E.*.Russia .
Reynolds, Sir Joshua.Great Rntain (U. S. Loan)...
Romanach, Leopoldo.Cuba .
Rossetti, Gabriel Charles Dant.-. Great Britain (V. S. I • m >
Rousseau, Theodore.France (V. S. Loan)...... ••
Ruisdael, Solomon van.Holland (l T . S. Loan).
Saint-Gaudens, Augustus.United States.
Samuel, Charles.Belgium .. . ......
Sargent, John Singer.United States... 7. Vt and
Schatz, Boris.Bulgaria .. .
Schiaffino, Eduardo .Vrgentine .
Schofield, W. Elmer.United States
Schreyvogel, Charles .United States
States.
States..
States..
States.
States.,
Stales..
States.
State?. .
States. ,
States.
(U. S.
States. ,
States. .
(U. S.
Loan).
Loan).
317
339
345
275
283
247
127
173
191
363
313
141
1S9
331
215
149
301
171
335
239
53
325
175
t
19
|
221
13
it
297
343
377
247
367
129
143
163
.390
Schu
Schtilt
Schwari
Sewell, i
R. V.
Shuttled,
Sitchoff, F.
Sivori, Edua
Snell, llenry .
Soest, Lewis \\ .
Steele, Theodore t
Stewart, Julius L.
Tanner, Henry O.
Tarbell, Edmund C.
Tcxiera-Lopes, Anton
Thomas, S. Seymour
Thorma. Jean d«..
Troyon, Cons*'
Tryon- 1
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